had a release in 70 countries in total. After Lauzon was killed in the northern Quebec plane crash in 1997, CBC Television, Télé-Québec and Showcase aired Night Zoo and Léolo in August, and Serge Losique announced an outdoor screening for Léolo at the Montreal World Film Festival in September. In 2014, Léolo was selected for a 2K digital restoration for a screening in the Cannes Classics selection of the 2014 Cannes Film Festival. The restoration was carried out by the Elephant project and Cinémathèque québécoise, and it was the first Canadian film screened for Cannes Classics. Reception Box office After opening at Place des Arts in Montreal on June 4, 1992, the film made $100,000 after its first week. The film had a total of 110,000 admissions in Quebec theatres. In its first weekend in two New York theatres, it made $31,009, which was considered a successful launch. According to Box Office Mojo, the film finished its run grossing $611,703 domestically. It was one of the highest-grossing films worldwide for distributor Alliance Films. It did particularly well in Germany and Spain, while it did not perform well in the U.S. Critical reception Canadian critic Brian D. Johnson, writing for Maclean's, said the film "elevates Canadian cinema to new heights of creative ambition and achievement". Roger Ebert gave the film four stars, writing "Léolo is an enchanting, disgusting, romantic, depressing, hilarious, tragic movie, and it is quite original- one of the year's best. I have never seen one like it before". Janet Maslin of The New York Times called Léolo "daring, bracingly original" and initially "whimsical". Kenneth Turan of The Los Angeles Times praised it as "extraordinary". Peter Brunette of The New York Times wrote "It's a bizarre, occasionally upsetting film, but its underlying portrait-of-the-artist-as-a-young-man theme couldn't be more classic". David Denby of New York magazine panned the film as "the most maladroit film I've seen in ages". In 2005, Time magazine named Léolo one of Time's All-TIME 100 Movies. That year, Ebert added it to his Great Movies list, writing on "the deep amusement and even love that Lauzon conveys in his material". Ebert also said "The technical brilliance of the film is astonishing". In 2014, Peter Howell of The Toronto Star, writing on Léolo'''s screening in Cannes Classics, called the film "masterful", while Bruce Kirkland of The Toronto Sun called it "brilliantly deranged" and speculated Lauzon would have enjoyed