Jonathan Papish @ChinaBoxOffice


The Martian claimed #1 in its launch both stateside and overseas this weekend with $45.2 million across 9,611 screens in 49 international markets. Combined with the NA release, Ridley Scott’s sci-fi film took in $100.2 million worldwide in its opening frame. The UK/Ireland topped the openings of Fox’s comps Gravity and Interstellar with $10.25 million on 1,378 screens. Australia was next with $4.2 million from just 489 screens also significantly outgrossing the comps. Mexico ($2.7M on 1,757 screens), Hong Kong ($2.65M on 124 screens), Italy ($2.61M on 532 screens), Brazil ($1.86M on 700 screens), Taiwan ($1.83M on 150 screens), India ($1.36M on 488 screens), Venezuela ($1.17M on 82 screens), and Thailand ($1.06M on 243 screens) complete the rest of the top ten markets. Next weekend sees Germany, Russia, and South Korea opening. Notably, China is on the docket for The Martian but with no confirmed release date.

Lost in Hong Kong continued its record run taking the top spot over China’s National Day Holiday weekend with $42.0 million. The long-awaited sequel to 2012’s buddy comedy Lost in Thailand passed its predecessor on Sunday to become the highest-grossing 2D Chinese language film of all-time with $209.4 million.


Chronicles of the Ghostly Tribe, an FX driven action/adventure film from China scored a second place finish over the weekend with $35.0 million. Directed by Lu Chuan (Nanjing! Nanjing!), the poorly reviewed Chronicles played particularly well in 3rd and 4th tier Chinese cities where spectacle still reigns over substance for filmgoers and has made $69.4 million since debuting last Wednesday. 


China’s surprise hit over the National Day holidays was low-budget comedy Goodbye Mr. Loser which grossed $30.4 million this weekend for a 5-day $42.2 million total. Created by the comedic theater troupe Kaixin Mahua (lit. Happy Fried Dough), Mr. Loser is riding amazing word of mouth and has seen increases in its daily grosses since Wednesday, even overtaking Lost in Hong Kong on Sunday for the daily crown.


Hotel Transylvania 2 dropped just 33% from its opening weekend for $20.4 million from 50 overseas markets. After two weekends of release, Sony’s animated sequel has $59.8 million overseas and $150.34 million worldwide. Latin America is being a particularly friendly guest for Hotel contributing $41.8 million across the region and surpassing the entire lifetime box office of the original film there by 15%. Mexico ($4.6M/$14.8M cume) leads the way, followed by Venezuela ($6.2M cume), Brazil ($1.8M/$5.0M cume) and Argentina ($1.3M/$3.9M cume). The film has only opened in 1/3 of its final international footprint with France opening Oct 7, Italy on Oct 8, Germany on Oct 15, Russia on Oct 22, and Spain on Oct 23.


Everest swept up another $16.4 million from 65 overseas markets this weekend, lifting its total to $103.3 million at the international box office and $136.5 million worldwide. Everest is the 7th Universal title to cross $100 million overseas this year. The film opened #4 in Chile ($215K) and Greece ($250K). Among holdovers, Everest held onto the #1 spot for the second weekend in a row in both Russia ($1.7M/$8.3M cume) and France ($1.5M/$4.2M cume) while dropping to #3 in its third weekend in Italy ($1.4M/$3.7M cume) and UK/Ireland ($1.3M/$13.2M cume). Japan opens next on November 6.


The Intern held strong in its second weekend of release grossing $15.7 million from 57 overseas markets. Nancy Meyer’s film is up to $35.6 million at the international box office and $72.12 million worldwide. Among openers, Australia opened in 2nd place with $1.65 million from 305 screens, Mexico bowed to a 4-day $1.2 million debut across 615 screens, and the UK/Ireland premiered with $1.2 million from 433 screens. The strongest holdover market was South Korea, actually increasing 51% over opening weekend with $4.1 million and taking the 11-day total there to $9.8 million. Russia dropped just 17% for $1.1 million and $3.0 million total while Taiwan took 2nd place, falling 7% for $994K from 95 screens. The Intern has passed the lifetime cumes of all Nancy Meyer’s films on the island with a $3.3 million after two weekends of release.


Maze Runner: The Scorch Trials nears $150 million overseas this weekend after grabbing $13.7 million from 58 markets. South Korea is the film’s top market scoring $1.5 million in its third frame for a total of $17.0 million. Other top markets include UK/Ireland ($12.17M), Mexico ($9.13M), Australia ($8.85M), Venezuela ($7.67M), Russia ($7.59M), and Brazil ($6.3M). Scorch Trials has earned $211 million worldwide and opens in France next weekend.


Disney/Pixar’s Inside Out took $12.6 million from 25 total overseas markets this weekend including three new German language territories. The film placed first in Austria, German-speaking Switzerland, and Germany where it posted an estimated $7.1 million which is the 3rd biggest Pixar opening there behind Finding Nemo and Ratatouille. Inside Out edged past Monsters University this weekend to become the 4th highest-grossing Pixar release overseas with $438.4 million and its $792.3 million global total ranks 2nd for the studio behind Finding Nemo ($895.6M) and Toy Story 3 ($1.0632B). Inside Out opens on Tuesday in China where Pixar films have struggled to find a foothold in the past. Predictions are putting the film’s run between $30M and $50M.


Saving Mr. Wu, a crime thriller starring Hong Kong star Andy Lau, took in $7.9 million over the holiday weekend in China and has grossed $15.0 million after 5 days. The film is based on the real life kidnapping of a popular Hong Kong actor in 2004. 


Minions continued its climb up the all-time charts this weekend with $6 million from 44 territories. The animated hit now ranks as the 10th highest-grossing film and the 2nd highest grossing animated film of all-time both overseas with $811.4 million and worldwide with $1.145 billion. China held strong over the National Holiday weekend, dropping just 17% for $4.0 million and a 22-day total of $65.8 million. Minions has opened in all its international territories and is nearing the end of its run with 8 days left in China.


The Visit found $3.3 million in 30 overseas territories for a international total of $19.0 million. M. Night Shyamalan’s thriller has grossed $76.7 million overseas. Taiwan opened with $76K and Vietnam with $69K this frame. The Visit opens next weekend in France and French-speaking Switzerland.


Mission: Impossible - Rogue Nation discovered $2.2 million this weekend from 38 overseas markets, lifting its international total to $485.0 million and the global total to $679.1 million. Rogue Nation grossed $1.4 million in its second weekend in China bringing the total there to $135.6 million. This fifth installment ranks just behind 2011’s Ghost Protocol ($694.7M) for the highest-grossing film worldwide in the Mission series.


Films grossing less than $2 million overseas this weekend + local language films (Weekend Total/Overseas Total/Global Total)

Pixels - $1.8M/$158.5M/$236.3M

Straight Outta Compton - $1.6M/$35.6M/$196.3M

Hitman: Agent 47 - $1.1M/$59.5M/$81.9M

Pan - $1.05M/$3.8M/$3.8M

Jurassic World - $400K/$1.013B/$1.664B

Ant-Man - N/A/$231.0M/$409.5M

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Sunday Update: Fox's The Martian arrived with a strong estimated first place debut of $55.0 million this weekend. The critically acclaimed Ridley Scott directed 3D sci-fi film starring Matt Damon lived up to its already lofty expectations and claimed the second largest opening weekend performance ever for the month of October. The Martian opened just 1 percent below the $55.79 million debut of October record holder Gravity back in 2013. The comparison is especially impressive given that The Martian didn't have the advantage of higher priced IMAX admissions that Gravity had. The Martian opened 16 percent ahead of the $47.51 million debut of last year's Interstellar (which also had the advantage of higher priced IMAX admissions). An effective advertising campaign, strong critical reviews, the combined drawing power of Scott and Damon and the pre-established fanbase for the novel the film is based on all contributed to the success of The Martian this weekend.

The Martian opened with $18.13 million on Friday (which included an estimated $2.5 million from Thursday evening shows), increased a strong 23 percent on Saturday to gross $22.28 million and is estimated to decline 34.5 percent on Sunday to take in $14.6 million. That places the film's estimated opening weekend to Friday ratio at a very promising 3.03 to 1. The Martian received a strong A rating on CinemaScore, which suggests that the film is going over just as well with moviegoers as it has with critics. Given both its strong critical reviews and strong early word of mouth, it is highly likely that The Martian will hold up very well throughout the month of October.

Sony's Hotel Transylvania 2 continued to impress with an estimated second place take of $33.0 million. The Adam Sandler led 3D computer animated film from Sony Pictures Animation held up very nicely this weekend, as it was down just 32 percent from last weekend's already stronger than expected launch. In comparison, 2012's Hotel Transylvania fell 36 percent in its second weekend to gross $27.05 million. Hotel Transylvania 2 has grossed $90.54 million through ten days of release. That places the film an impressive 18 percent ahead of the $76.71 million ten-day start of Hotel Transylvania and represents a very nice rebound for both Sandler and Sony from the lackluster performance of Pixels this summer. While it will soon face new competition for family audiences from both Warner's Pan and fellow Sony release Goosebumps, Hotel Transylvania 2 still has a very good chance of continuing to hold up well throughout the month of October, especially with the aid of the approaching Halloween holiday and no new animated films entering the marketplace until Fox's The Peanuts Movie arrives on November 6th.

On the heels of its impressive two-week performance in platform release, Lionsgate's Sicario had a very solid expansion into wide release with an estimated third place take of $12.08 million. The critically acclaimed crime thriller starring Emily Blunt, Benicio Del Toro and Josh Brolin performed in line with expectations. Thanks in part to strong critical reviews and the buzz generated from the film's platform performance; Sicario was able to hold its own in the face of The Martian this weekend. This weekend's performance for Sicario was only 9 percent below the $13.24 million expansion performance of Universal's Everest last weekend. Going forward, Sicario is likely to hold up better than Everest has.

Sicario grossed $4.29 million on Friday, increased 9 percent on Saturday to take in $4.66 million and is estimated to decline 33 percent on Sunday to gross $3.13 million. That gives the film an estimated weekend to Friday ratio of 2.81 to 1. Sicario received a healthy A- rating on CinemaScore.

Warner's The Intern held up nicely in its second weekend with an estimated fourth place take of $11.62 million. The Nancy Meyers directed comedy starring Robert De Niro and Anne Hathaway was down 34 percent from last weekend. In a fall moviegoing season filled with more serious fare thus far, The Intern is appealing to moviegoers in the mood for a comedy and has taken in $36.52 million in ten days. The film is running 9 percent ahead of the $33.47 million ten-day take of 2013's Last Vegas (which fell 32 percent in its second weekend to gross $11.04 million). Expect The Intern to continue to display healthy holding power going forward.

Maze Runner: The Scorch Trials rounded out the weekend's top five with an estimated $7.65 million. The young adult sequel from Fox fell 46 percent, as the film continues to understandably display more front-loading than its predecessor did last year. Maze Runner: The Scorch Trials has grossed $63.24 million in 17 days. That is below expectations and places the film 14 percent behind the $73.56 million 17-day gross of The Maze Runner.

Meanwhile, Sony's The Walk was off to a soft start this weekend in moderate release. The critically acclaimed 3D Robert Zemeckis directed film starring Joseph Gordon-Levitt only managed an estimated $1.55 million from 448 exclusive IMAX and PLF locations. That gave The Walk a per-location average of just $3,460 for the frame. The Walk has grossed $1.97 million through five days of release. Despite strong critical reviews, The Walk is clearly feeling the negative effects of facing very tough competition and not having the most mainstream friendly concept to begin with. The Walk will hope to build momentum off of its strong critical reviews when it goes into wide release next weekend, but that will be easier said than done after this weekend's performance.

Saturday Update: Fox reports that The Martian landed with a fantastic opening day of $18 million on Friday, including the adaptation's $2.5 million Thursday night haul. That gives it the best opening day of all-time for an October release, edging out Gravity's $17.5 million two years ago this weekend. That figure also tops Interstellar's $16.9 million first Friday (although it earned $2.15 million in limited release over the previous two days), while giving Matt Damon his best career opening day outside the Bourne franchise (The Bourne Ultimatum debuted to $24.7 million; Supremacy to $18.44 million. Last but not least, this is also director Ridley Scott's third best opening day after Prometheus ($21.5 million) and 2001's Hannibal ($19.3 million) -- in other words, making it his best first day gross among non-sequels and non-franchises.

Even better news for the adaptation of Andy Weir's best-selling novel is the fact that early word of mouth is lining up with critical reviews. Flixster users and Rotten Tomatoes critics each give it a high 94 percent score as of Saturday morning, both of which rank among the best scores by any wide release this year. Worth noting is that the film did earn a bit less on Friday "proper" ($15.5 million without Thursday grosses) than Gravity did ($16.1 million), and for that reason we're not quite pulling the trigger on calling an October opening weekend record (Gravity holds it at $55.8 million). Still, it should be pretty close even if it does fall short, and all of the aforementioned good signs point to a leggy run. BoxOffice's official projection as of Saturday morning is for a stellar $54 million debut frame.

Moving down to second place yesterday, Hotel Transylvania 2 eased 44 percent from its first day last Friday to $7.5 million. That gives the hit animated sequel an eight-day domestic take of $65.04 million -- putting it 16 percent ahead of its 2012 predecessor at the same point. BoxOffice projects a $31 million sophomore frame.

Expanding into wide release after two weeks of strong limited play, Denis Villeneuve's Sicario pulled an encouraging $4.28 million from 2,620 theaters on Friday in third place. That gives the strongly reviewed film a $7.28 million domestic total now, and early buzz is very positive with a 90 percent Flixster score alongside the well-documented 92 percent critical vote. BoxOffice is projecting a $13 million weekend.

In fourth place, The Intern eased 43 percent from opening day last week to $3.57 million yesterday. Writer/director Nancy Meyers' latest success has pulled $28.47 million through eight days of release, putting it 45 percent ahead of the pace of her 2006 film, The Holiday. BoxOffice is projecting a second weekend of $11.5 million.

In fifth, Maze Runner: The Scorch Trials posted $2.1 million for a 49 percent week-to-week drop. With a sum of $57.7 million domestically so far, BoxOffice projects a $7.3 million weekend.

Meanwhile, The Walk is unfortunately not off to the kind of start in IMAX theaters that was hoped for. The strongly reviewed (86 percent on Rotten Tomatoes) film based on tight-rope walker Philippe Petit (played by Joseph Gordon-Levitt) earned just $390,000 from its 448 locations yesterday, giving it a three-day total of $0.81 million. That falls well short of the benchmark achieved by Everest's early IMAX release just a couple of weeks ago, however audience reception is trending upward as its Flixster score has increased from 77 percent to 84 percent since Wednesday evening. Given the amount of competition in the marketplace right now, the film's nationwide expansion could benefit from that positive word of mouth in the weeks ahead. For now, BoxOffice is projecting a $1.25 million three-day weekend.

Follow BoxOffice on Sunday for updated weekend estimates from the studios.

Update #2: According to early numbers, here's how the weekend looks to be shaping up:

The Martian: $52 million-$54 million
Hotel Transylvania 2: $27 million-$29 million
Sicario: $9.5 million-$11.5 million
The Walk: $3 million-$4 million (5 day) 

Check back tomorrow for updated projections and official studio numbers.  

Update #1: With $2.5 million from Thursday evening shows, The Martian is off to an excellent start. The tally compares favorably to the $1.4 million haul that Gravity posted from Thursday evening shows on its way to a $55.8 million debut back in October 2013. Gravity still holds the record for the best October opening of all time, and The Martian certainly has a shot at breaking it.

More to come...

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By Daniel Garris

Sony's Hotel Transylvania 2 took in $1.79 million on Thursday to lead the daily box office for a seventh consecutive day. The Adam Sandler led 3D computer animated sequel from Sony Pictures Animation was down 9 percent from Wednesday. That represented one of the day's stronger daily percentage holds among wide releases, as holdovers in general took a clear hit from Fox's The Martian entering the marketplace on Thursday night. Hotel Transylvania 2 easily led the weekly box office with a stronger than expected seven-day start of $57.54 million. The film is running an impressive 16 percent ahead of the $49.66 million seven-day take of 2012's Hotel Transylvania.

Warner's The Intern rounded out its first week of release with a second place take of $1.54 million. The Nancy Meyers directed comedy starring Robert De Niro and Anne Hathaway declined 10 percent from Wednesday's performance. The Intern placed in second for the week with a seven-day start of $24.90 million. The film is running towards the higher end of pre-release expectations and 11 percent ahead of the $22.43 million seven-day gross of 2013's Last Vegas.

Fellow Warner Bros. release Black Mass took in $0.864 million to remain in third. The Johnny Depp led crime drama was down a sharp 24 percent from Wednesday, as the film was especially affected by the arrival of The Martian. Black Mass placed in fifth for the week with $15.52 million. That represented a 50 percent decline from the film's opening week performance and brings the film's two-week total to a solid $46.62 million.

Everest held steady in fourth place with $0.751 million. The 3D adventure drama from Universal was down a sizable 19.5 percent from Wednesday. On the heels of its strong opening week performance, Everest placed in fourth this week with a lackluster $17.63 million. The film was up 76 percent from the previous frame and has grossed a modest $27.67 million through two weeks of release.

Maze Runner: The Scorch Trials rounded out the day's unchanged top five with $0.717 million. The young adult sequel from Fox fell 13 percent from Wednesday. Maze Runner: The Scorch Trials placed in third for the week with $17.91 million. That represented a 52.5 percent slide from the film's opening week performance and brings the film's two-week total to a softer than expected $55.59 million.

Meanwhile, Sony's The Walk remained soft on Thursday with $181,895 from 448 IMAX and PLF locations. The 3D Robert Zemeckis directed film starring Joseph Gordon-Levitt was down 24 percent from Wednesday. The Walk has grossed just $422,274 in two days, which is a troubling start for the film going forward. The film will hope to rebound over the weekend with the aid of strong critical reviews.

Lionsgate's Sicario wrapped up its platform run with $132,743 from 59 locations on Thursday. The critically acclaimed crime thriller starring Emily Blunt, Benicio Del Toro and Josh Brolin has grossed a very encouraging $3.00 million through two weeks of platform release. That is a strong sign for the film as it expands into wide release today.

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by Phil Contrino

At the age of 78, Ridley Scott makes filmmakers half his age look downright lazy. Scott has directed a movie a year since 2012, and they haven't been small or easy. He's jumped from sci-fi (Prometheus) to a drug-trade thriller (The Counselor) to a biblical epic (Exodus: Gods and Kings). With The Martian, Scott challenges himself once again in a genre that he's already conquered with two major classics: Alien and Blade Runner.

BoxOffice spoke with Scott the morning after The Martian premiered at the Toronto International Film Festival. 

Congrats on the great reaction to the film. Was this the first time you saw it with a big audience, or did you sit in on test screenings?

I have to sit in on the test screenings. It's part of the process. We did five, actually. In the five screenings we had, we rated in the 90s, which is almost unheard of. That usually happens with riotously funny comedies, but we're a drama with some amusing stuff. It was an indication that we were in good shape.

How did you first become interested in The Martian?

I learned years ago that a great script ain't gonna land on your desk. When I'm not working I'm also constantly developing material. But this came to me in one of those rare occurrences. I've been with Fox more than 12 years now, and there's a first-look deal. They came to me and said, "Look, we've got this script and you might want to look at it." I read it and was highly entertained and also impressed that it covered all four quadrants of emotion. 

It's far more uplifting than your other sci-fi films. Was it a relief to do something less dark?

I'm a Brit, so positive/negative is about tonality. It becomes academic. It's a very American trait-and I'm not being negative here-to have a fun, uplifting ending. It makes sense because it helps put bums on seats and that's what we're all about. We are here to entertain, and if you don't put bums on seats then you don't have a business.

Do you feel, then, that filmmakers today are not as concerned as they should be with the commercial aspect? Are there too many who are just going to make what they make and not worry about recouping the money?

I'd say the opposite. This is probably going to be unpopular, but I think there are too many [who are overly concerned with the commercial aspect]. People come up with a marketing plan, and that's why we're seeing a lot of mediocre movies that are sometimes blatantly there for commercial reasons, and when you do it, too often they fail. 

There's this notion that directors can't always have art and commerce, but I look at you or someone like Stanley Kubrick -who cared a great deal about commercial success- and it's obvious that you can have both. Do you agree?

I do. You try to hit that bar. To certain people it's all about art, and sometimes they fly. It's perfect if something is agreeable and raises the bar artistically but also works commercially. It doesn't happen very often.

Did making the movie in 3D change your approach as a director?

Not at all. I'm blessed with a great eye, and I always have been. It even got in my way because I used to be criticized for being too visual. I would say, "Well, hold on. I'm not making a bloody radio play! I'm making a movie." What I have is an advantage, and I'm constantly looking for a way of evolving and avoiding what I've done before.  

What are your thoughts on the current state of 3D filmmaking? 

The truth is that technology is moving so quickly that the high-end 2D [high-dynamic range] nearly makes 3D redundant. We shot and edited The Martian on 3D and it was pretty straightforward if you've got the right team, and [cinematographer] Dariusz Wolski is great. From my point of view, I can just have fun making 3D pictures. But now with 2D becoming so great, you really have to ask yourself if you need it.

Matt Damon is secluded for a big part of the film. Was there any method acting coming into play? Did you try to separate him from the rest of the crew?

Not at all; I never do that. I think it's very much a choice of the individual actor as to how they want to get the work done. Do they want to be miserable for 16 weeks or do they want to have fun? 

Did Matt nail some of the film's big emotional scenes quickly or did he need a lot of takes to get to the heart of it?

He got it quick. I cast carefully. If I cast very well, the actors are going to help me on the day we shoot and I'm going to help them. It becomes a partnership. I don't do days and weeks of rehearsal. What I tend to do is when we walk on the floor, I literally shoot the first rehearsal and rehearse on camera. Because then you get the energy of coming in prepared but not rehearsed, and then you get a reality. If you over-rehearse it goes dead when you shoot, and you spend time getting back to what you found in rehearsals. I'm not unusual that way. Clint Eastwood does it, and so does Martin Scorsese. 

It's a workmanlike approach. It's making sure you get things done as efficiently as possible. 

Yes, and more actors like it than they care to admit. If it's well written, you don't have to rehearse. In this case we had a great script from a great book. 

As a director you're not one to shy away from releasing directors' cuts. Did this version come out exactly the way you wanted it to?

Definitely. I never do the long versions for theaters. The one that goes out is the one I like. 

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screenvision.pngMedia and Marketing Veteran's Proven Track Record of Innovation Well-Suited to Lead Screenvision into New Era of Growth

NEW YORK, N.Y., October 1, 2015 - Screenvision, a national cinema advertising leader, today announced that its Board of Directors named John Partilla as the company's new Chief Executive Officer (CEO), concluding an extensive search to replace former CEO Travis Reid. Partilla, most recently the CEO of Olson and the Executive Vice President, Digital Services Group of ICF International, is widely recognized for his vision and innovation. Partilla will focus on elevating Screenvision's position in the broader video media landscape, integrating new and emerging technology, strengthening the preshow advertising platform, and creating tentpole programs for brands.

Prior to joining Screenvision, Partilla served as CEO of Olson since January 2013. Under his leadership, the company grew 20 percent, making it the third-largest independent digital agency in the U.S before it was acquired by ICF in 2014. He also held several senior leadership roles at media agencies and properties, including Chief Operating Officer of Dentsu Network West; President, Global Media Sales of Clear Channel Communications; and President, Global Media Group of Time Warner. Partilla began his career at Young & Rubicam, where as Managing Partner he formed Brand Buzz in 2000, a digital division of the agency.

Partilla takes the helm of Screenvision during a period of unprecedented media fragmentation and declining ratings, where an increasing amount of advertising dollars are being reallocated from TV to other video platforms, including cinema. Screenvision has experienced significant growth against the backdrop of a record box office this year, including a highly anticipated slate in the fourth quarter featuring The Martian, Spectre, Hunger Games: Mockingjay - Part 2 and Star Wars Episode VII - The Force Awakens.
"As we seek to solidify Screenvision's place as a key component among advertisers' media plans, the Board was focused on identifying a leader who brings a tremendous amount of knowledge, experience, innovation and vision to our space," said Stephen Royer, Screenvision Board Member and Partner of Shamrock Capital Advisor. "John has extraordinary leadership qualities and an infectious energy that we feel confident will lead the company and industry forward."

"I am honored and excited to be joining Screenvision during this dynamic time in media. I believe the advertising industry is at an inflection point, and I see significant opportunity for the company to bring advertisers even greater access and impact on the most powerful screen in media," said Partilla. "While other mediums fight declining ratings and are challenged by viewability and engagement issues, Screenvision has proven stability and impact with the most coveted audience in media- I fervently believe that the sun is rising for the sector and Screenvision."
Partilla received his B.S. in Marketing and Economics from University of Delaware and an M.B.A. from Columbia University. He currently lives with his wife and kids in New York.


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