A24’s You Can See Everything, Lance Oppenheim and Nathan Fielder’s three-hour documentary about Theranos founder Elizabeth Holmes, and Warner Bros’ DC spin-off Clayface finished the weekend of 30 October to 1 November almost level at the top of the North American box office. On Sunday’s studio estimates, A24 reported $10.6m for its film and Warner Bros $10.4m for its own.
Key facts
- You Can See Everything took an estimated $10.6m from 3,243 cinemas in its third weekend, down 43%, for $63.9m to date
- Clayface took an estimated $10.4m from 3,478 cinemas in its second weekend, down 57%, for $44m in North America and $83m worldwide
- All films grossed about $62.2m over Friday to Sunday, down 38% on the previous weekend and the third-lowest total of 2026
- There was no new wide studio release; Halloween fell on the Saturday
- Final figures, which will settle the No. 1 spot, are due on Monday 2 November
The two estimates are about $200,000 apart, and Deadline reported that some rival distributors had Clayface ahead by between $200,000 and $500,000, so the order may change when actual grosses are reported on Monday. Either way, a documentary competing for first place in its third weekend is unusual. Paul Dergarabedian, head of marketplace trends at Rentrak, described it to Variety as “a rare achievement for any film, let alone a documentary running more than three hours”.
A documentary heading for the top tier
You Can See Everything made $3.56m on Friday, $3.58m on Saturday and an estimated $3.45m on Sunday, a flatter run than Clayface, which won Halloween itself with about $4.3m but was expected to fall to $2.8m on Sunday. The documentary added 588 cinemas this weekend.
At $63.9m it has already passed Hubble 3D ($52.5m) and An Inconvenient Truth ($24.1m) in North America, according to Deadline. The highest-grossing documentary that is not a nature or concert film remains Michael Moore’s Fahrenheit 9/11, with $119.1m. Variety puts the production cost at $7m.
The film has barely started outside North America. It is playing in Turkey at 120 cinemas, and opens in Australia and New Zealand on 12 November and in the UK on 20 November, according to Deadline. It will have its Italian premiere at the Torino Film Festival. Deadline also reported that A24 has passed $500m at the North American box office this year, its highest annual total.
Clayface and the rest of the top ten
James Watkins’ R-rated Clayface, an origin story for the Batman villain, opened at No. 1 last weekend. It took $22.8m worldwide this weekend and stands at $83m globally. Variety reports a production budget of $44m, against $225m for Superman last year and $175m for Supergirl in July. The film also opened top in Brazil a week ago.
Laika’s stop-motion fantasy Wildwood, released by Fathom, was third with $7.5m in its second weekend, down 39%, for $25.8m. Black Bear’s Wicker, starring Olivia Colman, held best in the top five: it dropped 28% to $4.1m as it widened to 2,374 cinemas, and has taken $13.2m. Variety reports that Black Bear acquired the film for $2.5m after Sundance.
Paramount and Legendary’s Street Fighter fell 63% to $3.2m in its third weekend, taking it to $53m in North America and $91.9m worldwide. Trafalgar Releasing’s concert film BTS: World Tour AiriRang opened sixth with $2.8m from 1,010 cinemas. Sony’s Resident Evil ($2.5m, $157.3m to date), Universal’s Other Mommy ($2.5m, $55.6m), Sony Pictures Classics’ The Only Living Pickpocket in New York ($1.9m from 1,112 cinemas, $2.1m to date) and Paramount’s Heart of the Beast ($1.6m, $65.1m) completed the top ten.
Sony did not report a second-weekend figure for Taika Waititi’s Klara and the Sun. Netflix opened Peter Berg’s The Mosquito Bowl in 349 cinemas for $455,000, while La bola negra added $418,000 from 38 cinemas for $1.2m to date.
A weak frame for exhibitors
The estimated $62.2m total is ahead of only 23–25 January ($54.7m) and 6–8 February ($61.9m) this year, according to Deadline. Rentrak, quoted by Variety, put the total at roughly $60m. The last time Halloween fell on a Saturday outside the pandemic, in 2015, the weekend grossed $74.1m, led by The Martian with $11.7m.
The figures are estimates for the US and Canada and are gross box office, not distributor revenue. Outside North America, Universal’s The Odyssey has passed $1.17bn, a record for the studio.
Our reading
For distributors, the weekend shows how hard a Saturday Halloween is on cinema-going. With no major studio willing to open a film wide, a low-cost documentary and a mid-budget genre film were left to share a market of about $62m. Monday’s actual figures will settle the No. 1 spot. The documentary’s international openings in November will show whether its appeal extends beyond North America.