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Triumph Films
Triumph Films
Triumph Films
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Triumph Films (also known as Triumph Releasing Corporation) was an American independent film studio division of Sony Pictures Entertainment, that geared towards theatre and direct-to-video film production and distribution.

Key Information

History

[edit]

It was founded in 1982 as a joint venture between Columbia Pictures and the French company Gaumont to distribute foreign films in the US. In 1984, Marcie Bloom, who was formerly of the New York Film Festival, joined Triumph Films to serve as New York publicity director (Bloom would later co-found Sony Pictures Classics).[2]

In 1985, Triumph Films announced that they would cut back down on their production slate, focusing on foreign-language films with English subtitles.[3] Shortly afterwards, Gaumont decided to cut ties, and Columbia Pictures, now the sole owner, decided to shutter Triumph Films, and fold it into the Columbia Pictures label.[4][5]

On January 5, 1988, the then-newly founded Columbia Pictures Entertainment announced that they would revive the Triumph brand as a new worldwide subsidiary, Triumph Releasing Corporation; this incarnation of Triumph provided administrative services related to the distribution of Columbia Pictures and Tri-Star Pictures in the U.S. and Canada, while internationally, Triumph would be responsible for the sales, marketing and distribution of Columbia and Tri-Star films under the direction of each individual studio.[6] It was officially incorporated on March 24, 1988.[1] In 1989, Triumph began to distribute films from Crédit Lyonnais's Epic Productions Inc.[7]

On November 23, 1994, Triumph Releasing Corporation was renamed as Sony Pictures Releasing Corporation,[1] and the Triumph name was spun off as Triumph Films, now primarily a label for low-budget and direct-to-video releases. After being shut down in 1997, the Triumph Films label was re-activated in 2003. The label went dormant again, becoming an in-name-only division of Sony Pictures Releasing Corporation.[1] In 2014, the label was revived yet again for the release of The Remaining. Their direct-to-video role has been taken by Destination Films within Sony.

Notable films

[edit]

Notable films include To Gillian on Her 37th Birthday, The Ambulance, Brainscan, Magic in the Water (co-released by TriStar Pictures), The Golden Laws, Steamboy (co-distributed by Destination Films) and the critically panned SuperBabies: Baby Geniuses 2.

1980s

[edit]
Release date Title
February 10, 1982 Das Boot
June 21, 1982 La vie continue
June 23, 1982 Bob le flambeur
September 14, 1982 Josepha
October 6, 1982 Yol
January 23, 1983 Parsifal
February 11, 1983 We of the Never Never
February 16, 1983 That Night in Varennes
April 21, 1983 Invitation au voyage
April 29, 1983 Querelle
May 13, 1983 La Boum
May 27, 1983 The Trout
September 9, 1983 Moon in the Gutter
September 28, 1983 Danton
November 11, 1983 Purple Haze
December 14, 1983 The Eyes, the Mouth
January 26, 1984 And the Ship Sails On
May 18, 1984 Angel
May 25, 1984 Heat of Desire
June 12, 1984 The Last Battle[N 1]
June 21, 1984 After the Rehearsal
September 20, 1984 Carmen
October 13, 1984 À Nos Amours
November 9, 1984 The Little Bunch
A Love in Germany
August 2, 1985 Death in a French Garden
August 26, 1985 My Other Husband
October 18, 1985 Acqua e sapone
November 1, 1985 Softly, Softly
December 8, 1989 Triumph of the Spirit[N 2]

1990s

[edit]
Release date Title Notes
January 12, 1990 Ski Patrol distribution only; produced by Epic Productions[N 2]
February 16, 1990 Courage Mountain
March 9, 1990 Bad Influence
March 31, 1990 The Ambulance
April 20, 1990 Modern Love
Why Me? distribution only; produced by Epic Productions[N 2]
April 27, 1990 Wild Orchid distribution only; produced by Vision PDG[N 2]
June 1, 1990 Ghosts Can't Do It distribution only; produced by Epic Productions[N 2]
July 20, 1990 Clownhouse distribution only: produced by Commercial Pictures[N 2]
August 24, 1990 Men at Work distribution only; produced by Epic Productions[N 2]
September 28, 1990 Dark Angel distribution only; produced by Vision PDG[N 2]
October 26, 1990 Sonny Boy distribution only; produced by Trans World Entertainment[N 2]
November 2, 1990 Waiting for the Light distribution only; produced by Epic Productions[N 2]
November 9, 1990 Mister Frost
November 21, 1990 Robot Jox distribution only; produced by Empire Pictures[N 2]
April 12, 1991 Eminent Domain
October 9, 1991 Homicide U.S. distribution only[N 3]
November 1, 1991 Year of the Gun
February 28, 1992 Gate 2: The Trespassers distribution only; produced by Vision PDG[N 2]
March 27, 1992 Ruby
April 15, 1992 Brenda Starr [N 2]
May 8, 1992 Wild Orchid II: Two Shades of Blue distribution only; produced by Vision PDG[N 2]
August 1, 1992 Jersey Girl
October 23, 1992 Zebrahead
March 5, 1993 Shadow of the Wolf
April 9, 1993 Sidekicks distribution only; produced by Vision PDG and Gallery Films[N 4]
April 22, 1994 Brainscan
March 3, 1995 Nina Takes a Lover
April 12, 1995 Jury Duty co-production with TriStar Pictures
August 30, 1995 Magic in the Water
January 26, 1996 Screamers co-production with Columbia Pictures
August 23, 1996 Solo
October 18, 1996 To Gillian on Her 37th Birthday co-production with Rastar
April 14, 1997 Bliss
May 2, 1997 Truth or Consequences, N.M.
August 22, 1997 Masterminds co-production with Columbia Pictures
September 12, 1997 The Disappearance of Garcia Lorca co-production with Sony Pictures Releasing
September 26, 1997 The Assignment

2000s

[edit]
Release date Title Notes
December 5, 2003 The Golden Laws
August 17, 2004 SuperBabies: Baby Geniuses 2 co-production with ApolloMedia, Crystal Sky Pictures and Hador BG2 Productions Ltd.
March 18, 2005 Steamboy US distribution only; co-distributed by Destination Films, produced by Sunrise and Toho
February 17, 2006 The Second Chance co-production with Provident Films, Ruckus Film and Cedar Partners
January 2, 2007 Shottas co-distributed by Destination Films
April 18, 2008 Zombie Strippers theatrical distribution only; produced by Stage 6 Films

2010s

[edit]
Release date Title Notes
September 5, 2014 The Remaining distribution only; produced by Affirm Films

Notes

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Triumph Films

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Triumph Films was an American independent film production and distribution company, originally formed in 1982 as a joint venture between Columbia Pictures and the French studio Gaumont to specialize in the U.S. release of foreign and art-house films. Its inaugural release, the German World War II submarine thriller Das Boot (1981), marked an early success, generating substantial profits through targeted marketing despite its modest initial box office. After a period of dormancy following the original venture's closure in 1987, Triumph Films was revived in 1988 by Columbia Pictures as Triumph Releasing Corporation, a distribution entity. Following Sony's 1989 acquisition of Columbia, it shifted in 1993 under Sony Pictures Entertainment to function as a low-budget independent film unit designed to produce and distribute star-driven projects with budgets ranging from $8 million to $10 million. The division emphasized streamlined development and minimal bureaucracy to enable rapid production, yielding hits such as Jury Duty (1995), which grossed $17 million domestically, and Sidekicks (1993), which earned $17 million domestically. Other notable releases included Truth or Consequences, N.M. (1997), Bliss (1997), and Masterminds (1997), though the unit experienced mixed results with underperformers like To Gillian on Her 37th Birthday (1996), which only recouped $4.2 million. In April 1997, Sony Pictures Entertainment announced the closure of Triumph Films as part of a broader strategic shift to consolidate operations under its core Columbia TriStar banners, with president David Saunders overseeing the completion of six remaining projects before departing in early 1998. Despite the shuttering, the Triumph Films imprint persisted for sporadic releases in later years, including the surfing drama In God's Hands (1998), the Christian film The Second Chance (2006), and the supernatural thriller The Remaining (2014), often in association with Sony's Affirm Films for faith-based content.

Overview

Founding and initial purpose

Triumph Films was established in as a between , a major American studio, and Gaumont, a prominent French film company. The partnership aimed to facilitate the distribution of international and foreign-language films within the market, leveraging Gaumont's European sourcing capabilities alongside Columbia's domestic expertise. The initial purpose of Triumph Films was to bridge European cinema with American audiences by introducing high-profile foreign imports, particularly those in the arthouse category, to niche U.S. viewers. This focus addressed the challenges of importing and marketing non-English language films, which often struggled for wide release through traditional Hollywood channels. Operations were headquartered in , , aligning with ' base, and the initial slate emphasized select foreign titles rather than domestic productions. A key early release exemplifying this mission was the 1981 German film , directed by , which Triumph Films brought to U.S. theaters in February 1982. The film's successful distribution highlighted the venture's potential, earning critical acclaim and profitability through targeted marketing that appealed to American interest in narratives. Financially, Triumph Films operated under a shared model, with Gaumont providing access to European film libraries and Columbia overseeing U.S. , promotion, and theatrical rollout. This structure allowed for cost-effective handling of lower-budget imports, minimizing risks while capitalizing on ancillary markets like and .

Corporate evolution and current status

In October 1986, Gaumont sold its stake and withdrew from the partnership, prompting to shutter the original Triumph Films operation and absorb its functions into its main label. On January 5, 1988, Columbia Pictures Entertainment relaunched the Triumph brand as Triumph Releasing Corporation, a new worldwide subsidiary focused on broader distribution services for and films. Following Sony Corporation's $3.4 billion acquisition of Entertainment in September 1989, Triumph Releasing Corporation was integrated into the newly formed Sony Pictures Entertainment structure. By 1993, under executive David Saunders, Triumph had transitioned from a primarily releasing entity to a production label specializing in low-budget, star-driven films budgeted at $8 million to $10 million. In November 1994, the releasing arm of Triumph Releasing Corporation was renamed Sony Pictures Releasing Corporation, while the Triumph name was retained and spun off as a dedicated production label for low-budget and direct-to-video projects. The label was shuttered in 1997 after a mixed box office performance on its slate, including hits like Jury Duty ($17 million domestic) and flops such as To Gillian on Her 37th Birthday ($4.2 million). Despite the closure, the imprint was used sporadically for later releases, including the surfing drama In God's Hands (1998), the Christian film The Second Chance (2006), and the supernatural thriller The Remaining (2014), often in association with Sony's Affirm Films for faith-based content. The label was reactivated in 2003 for select independent and direct-to-video projects, such as the 2004 release Superbabies: Baby Geniuses 2, produced in association with Sony Pictures. The label entered dormancy around 2008, with a one-off revival in 2014 for , after which it ceased active production. As of 2025, Triumph Films remains an in-name-only division of Entertainment, with its film library managed by and production responsibilities absorbed by affiliates including and ; it has produced no new releases since the .

History

1982–1987: Joint venture and early closure

Triumph Films commenced operations in 1982 as a between and the French studio Gaumont, specifically established to handle the U.S. distribution of European films, including those produced by Gaumont. Its inaugural release was the German submarine thriller Das Boot (1981), which premiered in the U.S. on February 10, 1982. The venture focused on introducing foreign-language content to American audiences through targeted marketing strategies aimed at niche markets, such as art-house theaters and film festivals, emphasizing the works of acclaimed international directors to build interest among sophisticated viewers. Despite these efforts, Triumph Films encountered significant operational challenges during its brief tenure, including difficulties in adapting foreign films for American tastes and achieving broad commercial appeal. The U.S. market proved resistant to imports, even from renowned filmmakers like Fellini, , and , resulting in limited box-office returns and financial pressures on the partnership. After just one year, the reported financial losses, highlighting the uneven dynamics between the partners and the broader strains of navigating cultural and economic barriers in distributing non-English-language films. By 1985, ongoing profitability concerns prompted Gaumont to withdraw from the arrangement, seeking to establish independent U.S. operations instead. Columbia Pictures subsequently dissolved in 1985, integrating its assets and remaining distribution responsibilities directly into Columbia's international division to streamline foreign film handling. This early closure marked the end of the original phase, though the Triumph name would be revived in 1988 as an independent releasing entity under Columbia.

1988–1993: Relaunch as releasing entity

In early 1988, Entertainment revived the dormant Triumph brand as Triumph Releasing , establishing it as a to manage distribution operations. The new entity was tasked with providing administrative support to the sales teams of and Tri-Star Pictures in the United States and , while handling international sales, marketing, and theatrical distribution for their films abroad. Patrick M. Williamson was appointed president, bringing experience from his prior role as executive vice president in Company's entertainment sector. This relaunch marked a strategic shift from Triumph's earlier emphasis on importing foreign films through its with Gaumont to a broader mandate that included acquiring and releasing independent U.S. productions, particularly mid-budget indie films. Starting in , Triumph expanded its partnerships beyond Gaumont by aligning with Epic Productions, Inc.—a company backed by the French bank Crédit Lyonnais—to distribute its slate internationally and in select domestic markets. This collaboration enabled Triumph to focus on theatrical releases in genres such as horror and thrillers, including titles like (1990), a that grossed approximately $32.5 million worldwide. During this period, Triumph's output grew steadily, with several indie acquisitions annually, contributing to domestic film rentals of approximately $13.2 million in 1990 alone from releases like . The company's emphasis on co-productions and acquisitions from emerging producers like Epic helped build visibility through cult-favored entries in suspense and genre fare, such as Blood Games (1990) and Curse III: Blood Sacrifice (1991), solidifying its role as a key releasing arm ahead of deeper integration within the structure.

1994–1999: Integration into and production shift

Following 's $3.4 billion acquisition of Entertainment in 1989, which included its Triumph Releasing Corporation, the entity was initially absorbed into the broader Entertainment structure from 1989 to 1993 with minimal operational changes. By early 1994, a pivotal reorganization occurred, renaming the primary releasing arm as Releasing while reestablishing Triumph Films as a dedicated low-budget production label to handle economical projects separate from 's higher-profile divisions. This shift aligned with 's strategy to streamline distribution and foster niche production amid post-acquisition consolidations. Under president David Saunders, who assumed leadership in 1993, Triumph Films pivoted from mere releasing duties for Columbia and TriStar's lower-end titles to active production of star-driven films capped at budgets of $8 million to $10 million, emphasizing swift development and reduced overhead to secure discounted talent deals. The label targeted limited theatrical runs and releases, producing content like comedies and action-dramas with broad appeal but modest ambitions, such as the vehicle Jury Duty (1995), which earned $17 million at the box office, and the starrer Sidekicks (1994, released under Triumph), grossing $17.1 million domestically. Other outputs included the family drama To Gillian on Her 37th Birthday (1996), which underperformed with $4.2 million despite a cast featuring at a favorable rate. In April 1997, amid Sony's wider cost-cutting initiatives and executive regime changes under new president John Calley, Triumph Films was shuttered as a strategic move rather than due to poor financial results, with its remaining six-film slate—including Truth or Consequences, N.M. (1997), Bliss (1997)—handled for release by early 1998 through other Sony units. Saunders remained until completion, later expressing disappointment over the closure given the market viability of such mid-tier productions. This dormancy reflected Sony's refocus on core brands like Columbia and TriStar, ending Triumph's active 1990s era.

2000s–present: Reactivation, dormancy, and legacy

Following its integration into Sony Pictures Entertainment in the mid-1990s, Triumph Films experienced a period of dormancy until its reactivation in the early 2000s as a limited-use label for low-budget, independent, and direct-to-video projects. This revival allowed the division to handle select releases that aligned with Sony's strategy for niche markets, avoiding association with higher-profile imprints. Notable examples include the surfing drama In God's Hands (1998), the 2004 animated feature Steamboy, a Japanese steampunk adventure distributed in North America, the family comedy SuperBabies: Baby Geniuses 2 (2004), a direct-to-video sequel emphasizing special effects on a modest budget, the Christian film The Second Chance (2006), and the Jamaican crime drama Shottas (2006), which brought urban narratives to wider audiences. By 2008, Triumph Films entered dormancy as Sony shifted its low-to-mid-budget responsibilities to other divisions, including for genre films and for independent acquisitions and distribution. This transition reduced Triumph to an in-name-only entity by around 2014, with its functions largely absorbed into Sony's broader ecosystem for handling cult-oriented and international titles. A brief one-off revival occurred in 2014 for the faith-based horror film , co-produced with , marking the label's final notable use. Triumph Films' legacy endures through its contributions to Sony's expansive library, particularly in fostering low-budget indie models that enabled the studio to experiment with formats and foreign acquisitions without risking mainline brands. Its releases, including cult favorites like and innovative animations like , informed Sony's global distribution strategies by highlighting viable paths for niche content in a consolidating industry. As of 2025, the label remains inactive, with no new productions or releases, underscoring its historical role in diversifying Sony's low-end film portfolio rather than ongoing operations.

Filmography

1980s releases

Triumph Films, established in as a between and Gaumont to distribute foreign films , focused its 1980s slate on importing European and international titles, primarily art-house dramas presented with English subtitles. The venture's early efforts emphasized non-English language cinema, with no original productions until the late decade, and releases were limited to specialty theaters amid challenges in penetrating the mainstream market, resulting in financial losses such as $2 million from four films in 1983 alone. A representative and high-impact release was the German war drama (1981), directed by , which chronicles the tense, claustrophobic life aboard a during . Columbia Pictures handled U.S. distribution through its Triumph Classics label starting February 10, 1982, offering both subtitled and dubbed versions; the film earned approximately $11.5 million at the domestic , highlighting Triumph's role in introducing critically acclaimed foreign works to American audiences. Other notable foreign imports included titles like the Turkish drama Yol (1982), directed by Şerif Gören and Yilmaz Güney, a winner depicting life under , though specific U.S. performance metrics for such releases remain limited due to their niche appeal. Similarly, Federico Fellini's surreal (1983), a fantasy-drama about luminaries on a doomed voyage, received U.S. distribution support tied to the joint venture's European focus, underscoring Triumph's commitment to auteur-driven international cinema. These efforts, totaling around five to ten films over the decade, laid the groundwork for Triumph's evolution but faced commercial hurdles in a market dominated by domestic blockbusters.

1990s releases

Triumph Films' output in the marked a transition toward distributing independent films, including thrillers, horror, and comedies, often with limited theatrical releases or co-productions under Entertainment. Following its relaunch and integration into in the mid-, the label focused on niche domestic titles rather than international imports, emphasizing co-productions with modest budgets aimed at theatrical and markets. Approximately 15–20 films were released during this decade, with earnings varying widely based on appeal and support. Key releases began in 1990 with a mix of erotic thrillers and action comedies. Bad Influence (1990), a psychological thriller directed by Curtis Hanson, starred Rob Lowe and James Spader and ran 99 minutes, grossing $12.6 million in the US through wide theatrical release. The Ambulance (1990), a horror-thriller directed by Larry Cohen featuring Eric Roberts, had a 95-minute runtime and received limited theatrical distribution with modest earnings. Later that year, Men at Work (1990), a buddy comedy directed by and starring Emilio Estevez alongside Charlie Sheen, lasted 98 minutes and earned $16.2 million domestically via wide theatrical run. Dark Angel (1990), an action sci-fi film directed by Craig R. Baxley with Dolph Lundgren, ran 91 minutes and grossed $4.4 million in the US through theatrical release. Ghosts Can't Do It (1990), a supernatural comedy-thriller directed by John Parr starring Anthony Quinn and Bo Derek, was 90 minutes long and achieved only $25,000 in limited US theatrical gross. Wild Orchid (1990 wide release), an erotic drama directed by Zalman King with Mickey Rourke and Carre Otis, ran 111 minutes and grossed $11 million domestically. Waiting for the Light (1990), a comedy-drama directed by Christopher Monger featuring Teri Garr, lasted 94 minutes and earned $809,000 via theatrical distribution. Robot Jox (1990), a sci-fi action film directed by Stuart Gordon starring Gary Graham, had an 85-minute runtime and limited theatrical release with unremarkable US earnings. In 1991, (1991), a crime thriller directed by with and , ran 102 minutes and grossed $3 million in the US through theatrical release. (1991), a political drama directed by starring and , lasted 102 minutes and saw limited theatrical distribution. The 1992 slate included Gate II: The Trespassers (1992), a horror sequel directed by Tibor Takacs featuring Louis Tripp, with a 90-minute runtime and $2 million US gross via theatrical release. Wild Orchid II: Two Shades of Blue (1992), a coming-of-age drama directed by starring , ran 107 minutes and earned $574,000 domestically. Brenda Starr (1992), an adventure comedy directed by Robert Ellis Miller with and , was 93 minutes long and grossed just $68,000 in limited theatrical run. Jersey Girl (1992), a romantic comedy directed by David Christopher starring and , had a 95-minute runtime and modest theatrical earnings. By 1993, releases leaned into adventure and action genres. Shadow of the Wolf (1993), an adventure drama directed by Jacques Dorfmann featuring and , ran 112 minutes and grossed $1.4 million in the . Sidekicks (1993), an action comedy directed by with and , lasted 110 minutes and achieved $17.2 million domestic gross through wide theatrical release. The mid-1990s highlighted horror and sci-fi under Sony's expanded oversight. Brainscan (1994), a horror film directed by John Flynn starring and , ran 96 minutes and earned $4.4 million via theatrical distribution. Jury Duty (1995), a comedy directed by featuring , had an 88-minute runtime and grossed $17 million domestically as a TriStar co-production with theatrical release. Magic in the Water (1995), a family fantasy adventure directed by Rick Stevenson starring , lasted 98 minutes and earned $2.7 million in US theatrical gross through TriStar co-distribution. Screamers (1995), a sci-fi horror thriller directed by Christian Duguay with , ran 108 minutes and grossed $5.7 million domestically. To Gillian on Her 37th Birthday (1996), a romantic drama directed by starring and , ran 93 minutes and grossed $4.1 million domestically through limited theatrical release. Later releases emphasized intimate dramas and thrillers. Bliss (1997), an erotic drama directed by Lance Young starring and , was 103 minutes long and grossed $294,000 in limited theatrical release. The Assignment (1997), a spy thriller directed by Christian Duguay featuring and , ran 116 minutes and earned $333,000 domestically via limited theatrical run. Truth or Consequences, N.M. (1997), a crime thriller directed by and starring with , ran 107 minutes and grossed $19,500 in limited release. Masterminds (1997), an action comedy directed by Roger Christian starring and , lasted 106 minutes and earned $219,000 domestically. In 1998, the surfing drama In God's Hands (1998), directed by and starring Matt George and Shane Powers, ran 94 minutes and grossed $1.5 million in the through TriStar co-distribution. The decade closed with Baby Geniuses (1999), a family comedy directed by starring and , lasting 95 minutes and grossing $27.2 million in the through wide theatrical release. These films exemplified Triumph's growing focus on genre-driven indies and co-productions, though many achieved only niche success amid Sony's broader portfolio.

2000s releases

In the 2000s, Triumph Films saw a brief reactivation starting in 2003 as a division of Entertainment, focusing primarily on low-to-mid-budget and limited theatrical releases in genres such as family comedy, crime drama, , and horror. This period marked a shift toward smaller-scale, niche projects often co-produced or co-distributed with partners like and Provident Films, reflecting the label's intermittent activity before entering dormancy by the end of the decade. With budgets typically under $5 million for most titles—except for higher-profile s—no major commercial successes emerged, emphasizing distribution over wide theatrical runs. Key releases included (2002, U.S. release 2006), a low-budget Jamaican crime drama co-distributed by with a production cost of approximately $200,000, which explored themes of gang life in Kingston and but achieved limited visibility primarily through DVD sales. Similarly, The Golden Laws (2003), an animated based on spiritual teachings by and produced by , was released in the U.S., blending sci-fi elements with in a niche appeal that garnered modest interest without significant data. The family-oriented SuperBabies: Baby Geniuses 2 (2004), a co-produced with and ApolloMedia, stood out with a $20 million budget—higher than typical for the label—and a limited theatrical run grossing about $9.4 million worldwide, though it underperformed and relied on subsequent DVD sales for recovery. In 2005, Triumph handled U.S. distribution for the adventure (2004 Japan release), directed by with a $22 million budget, focusing on Victorian-era invention and action; its limited U.S. theatrical earned just $468,867, bolstered by ancillary revenue. Faith-based drama The Second Chance (2006), co-presented with Provident Films and directed by , featured a $1.2 million and a modest theatrical gross of $463,542, addressing themes of urban ministry and church , with strong DVD performance in Christian markets. The decade closed with Zombie Strippers (2008), a horror-comedy produced by on a $1 million (completed under cost), which received limited theatrical distribution and via , satirizing zombie tropes in a setting. These six titles exemplified Triumph's output, prioritizing genre-specific, budget-conscious films amid the label's path to dormancy.
TitleRelease Year (U.S.)GenreBudget (est.)Key PartnersNotes
2006Crime Drama$200,000Limited release; DVD-focused
The Golden Laws2003Animation/FantasyNot publicly available (low-budget )Direct-to-video; spiritual themes
SuperBabies: Baby Geniuses 22004Family Comedy$20 million, ApolloMediaTheatrical underperformer; $9.4M worldwide gross
2005Animation/Adventure$22 millionSunrise, U.S. distribution only; $0.47M U.S. gross
The Second Chance2006Drama$1.2 millionProvident FilmsFaith-based; $0.46M gross, strong DVD sales
2008Horror-Comedy$1 millionLimited theatrical; cult home video appeal

2010s releases

During the , Triumph Films' output was extremely limited, reflecting the label's ongoing dormancy following its reduced activity in the previous decade. The division, a of Entertainment, saw only one revival as a production entity during this period, marking a brief and isolated return before ceasing operations entirely. In 2014, Triumph Films co-produced and released The Remaining, a horror thriller directed by Casey . The film, a co-production with (Sony's faith-based division), depicts a group of friends whose wedding celebration is interrupted by apocalyptic events inspired by the , blending elements of disaster, horror, and Christian themes to explore questions of faith and survival. It received a PG-13 rating for intense sequences of terror, violence, and destruction. The Remaining premiered theatrically in the United States on September 5, 2014, through Triumph Releasing Corporation, with a limited rollout across approximately 85 theaters. The film earned $1,169,603 domestically at the , opening with $159,143 and achieving modest international totals for a worldwide gross of about $2.3 million. was mixed to negative, with a 38/100 Metascore on and a 60% approval rating from critics on , though it found a niche audience in faith-based and horror circles, evidenced by an IMDb user rating of 4.3/10 from over 9,700 votes. No further releases followed, as Triumph Films transitioned its remaining library management and any potential projects to other labels like by the late 2010s, entering full inactivity thereafter.

References

  1. https://variety.com/1997/film/news/urman-exits-davidson-for-cinepix-1116680258/
  2. https://www.nytimes.com/1982/06/21/business/independent-distributor-finds-profit-in-low-grossing-films.html
  3. https://www.washingtonpost.com/archive/lifestyle/style/1983/01/02/on-screen-with-feeling-sleepers-weepers-and-profits/78d20132-fd3e-49d3-a06d-eb6c2e269092/
  4. https://variety.com/1997/scene/vpage/sony-folds-low-budget-outfit-triumph-films-1117433472/
  5. https://www.boxofficemojo.com/title/tt0105402/
  6. https://variety.com/1997/film/reviews/truth-or-consequences-n-m-1200449495/
  7. https://variety.com/1998/film/reviews/in-god-s-hands-2-1200453316/
  8. https://variety.com/2006/film/markets-festivals/the-second-chance-1200518298/
  9. https://variety.com/2014/film/reviews/film-review-the-remaining-1201307814/
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  14. https://www.latimes.com/archives/la-xpm-1998-dec-08-fi-51776-story.html
  15. https://variety.com/2004/film/markets-festivals/superbabies-baby-geniuses-2-1200531488/
  16. https://crypticrock.com/the-remaining-movie-review/
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  21. https://movies.fandom.com/wiki/Epic_Productions
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  29. https://www.the-numbers.com/movie/Ambulance-The-%281990%29
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  32. https://www.the-numbers.com/movie/Ghosts-Cant-Do-It-%281990%29
  33. https://www.the-numbers.com/movie/Gate-II
  34. https://www.the-numbers.com/movie/Brenda-Starr
  35. https://www.the-numbers.com/movie/Shadow-of-the-Wolf
  36. https://www.the-numbers.com/movie/Sidekicks
  37. https://www.the-numbers.com/movie/Brainscan
  38. https://www.the-numbers.com/movie/Magic-in-the-Water
  39. https://www.the-numbers.com/movie/Screamers
  40. https://www.the-numbers.com/movie/Gillian-on-Her-37th-Birthday-To-(1996)
  41. https://www.the-numbers.com/movie/Bliss
  42. https://www.the-numbers.com/movie/Assignment-The
  43. https://www.the-numbers.com/movie/Truth-or-Consequences-NM
  44. https://www.the-numbers.com/movie/Masterminds-(1997)
  45. https://www.the-numbers.com/movie/In-Gods-Hands
  46. https://www.the-numbers.com/movie/Baby-Geniuses
  47. https://www.imdb.com/title/tt0281190/
  48. https://www.the-numbers.com/movie/Superbabies-Baby-Geniuses-2
  49. https://www.the-numbers.com/movie/Steamboy-%282004-Japan%29
  50. https://www.the-numbers.com/movie/Zombie-Strippers
  51. https://www.imdb.com/title/tt2714380/
  52. https://www.rottentomatoes.com/m/the_remaining
  53. https://www.boxofficemojo.com/title/tt2714380/
  54. https://www.the-numbers.com/movie/Remaining-The
  55. https://www.metacritic.com/movie/the-remaining/
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