The fifth weekend is the latest step in a retreat that has been underway since the film was still in the top ten. The weekend grosses run $3,303,548, then $1,540,161, $664,394, $248,026, and now $70,000. The theater counts run 1,525, 1,301, 731, 355, and 162. After a smaller cut in week two, the map has been roughly halved three weeks in a row. The per-theater average has fallen at the same time, from $2,166 on opening weekend to $1,184, $909, $699, and about $432. Fewer theaters would have lowered the gross even if the remaining rooms had held last week’s pace. At $699 each, 162 theaters would have grossed about $113,000. The reported weekend is $70,000.
There is another way to read the same $8.3 million, and it is the one a distributor can point to. The Numbers says the opening weekend is 39.8 percent of the domestic total, and it puts the film’s legs at 2.51, meaning the total is about two and a half times the biggest weekend. By the end of weekend two the cume was $6,229,247, about three quarters of the money now on the books. Week five added $70,000, less than 1 percent of that total. The audience that was going to show up largely showed up while the film was still in more than a thousand theaters. What remains is a small map doing less per theater than it did a week ago.
The daily record is where the estimate shows. Through Thursday, October 15, The Numbers still has exact figures, all of them at 355 theaters: $47,289 on Monday, $38,474 on Tuesday, $27,721 on Wednesday, and $15,799 on Thursday, when the total reached $8,222,341. On Friday the count drops to 162 and the dailies become $17,900, $30,000, and $22,100. Those three figures are rounded to the nearest hundred, and they add up to the $70,000 both sites are using. Mojo’s weekend line matches that total and flags it as an estimate. Until a later report replaces the round numbers, $70,000 should be read that way. The drop from 355 theaters to 162 stands on its own.
What the distributor said it was releasing
Variety reported in April that EKKL, founded the year before by Michael Scott, had acquired global distribution rights and planned a September U.S. release. Scott said EKKL looked forward to bringing the film “to the big screen on the global scale which it deserves.” The film opened September 18, a week after the date in that story. Five weeks later the domestic run is 162 theaters, about 11 percent of the opening map. Mojo’s title page shows no international gross, and it sets the worldwide total equal to the domestic $8,292,341. The Numbers’ summary lists $1,281,423 international, while the only foreign date on that page is a limited Brazilian release on October 22, which has not happened. The two sites do not agree, and neither names a territory that has already reported. The domestic run is the figure a reader can check.
On October 12, with the film in 355 theaters and the domestic total already past $8 million, Scripture to Screen said a sequel, Daniel, Prophets & Kings, is planned for theaters in fall 2027. That announcement treated the first film as a success to build on. An $8.3 million domestic total from a $3.3 million opening is the result that supports the claim. A fifth weekend of $70,000 from 162 theaters is the result that describes the run now. The sequel does not restore the theaters, and the shrinking map does not erase the money the film made while it had them.
Next weekend will show whether 162 theaters hold. A later chart may also replace $70,000 with figures that are not rounded. Brazil’s October 22 date is the first foreign opening on either page. Until a territory reports a gross, it remains a date.
