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The Birth of a Nation (2016)

The Birth of a Nation
Theatrical Performance
Domestic Box Office $13,066,271Details
Further financial details...

  1. Summary
  2. News
  3. Box Office
  4. Video Sales
  5. Full Financials
  6. Cast & Crew
  7. Trailer


Follows Nat Turner, a literate slave and preacher, whose financially strained owner, Samuel Turner, accepts an offer to use Nat’s preaching to subdue unruly slaves. As he witnesses countless atrocities — against himself and his fellow slaves — Nat orchestrates an uprising in the hopes of leading his people to freedom.


Rotten Tomatoes
Critics Certified FreshAudience Upright
76% - Certified Fresh
76% - Upright

Latest Ranking on Cumulative Box Office Lists

Movie Details

Production Budget:$10,000,000
Domestic Releases: October 7th, 2016 (Wide) by Fox Searchlight
MPAA Rating: R for disturbing violent content, and some brief nudity.
(Rating bulletin 2417 (Cert 50204), 3/23/2016)
Running Time: 118 minutes
Comparisons: vs. Glory
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Keywords: Slavery, Revolution, 1800s, Virginia, African-American, Religious
Source:Based on Real Life Events
Production Method:Live Action
Creative Type:Historical Fiction
Production Companies: Bron Studios, Phantom Four, Mandalay Pictures, Tiny Giant Productions, Follow Through Productions, Creative Wealth Media Finance, Fox Searchlight Pictures, Novofam Productions, Infinity Entertainment, Oster Media, Point Made Films, Juniper Productions, Argent Pictures, Hit 55 Ventures, TSG Entertainment
Production Countries: United States

Ranking on other Records and Milestones

Days In
Biggest 2nd Weekend at the Domestic Box Office 3,151 $2,747,601 Oct 14, 2016 10
Biggest Opening Weekend at the Domestic Box Office 2,372 $7,004,254 Oct 7, 2016 3
Widest Opening Weekend 2,077 2,105 Oct 7, 2016 3
Movies with Leggiest Opening Weekend 2,154 2.67 Oct 7, 2016 1
Movies with Most Front-Loaded Opening Weekend 2,463 37.4% Oct 7, 2016 1


   Nat Turner
Armie Hammer    Samuel Turner
Mark Boone Jr.    Reverend Zalthall
Colman Domingo    Hark
Aunjanue Ellis    Nancy
Dwight Henry    Isaac Turner
Aja Naomi King    Cherry
Esther Scott    Bridget
Roger Guenveur Smith    Isaiah
Gabrielle Union    Esther
Penelope Ann Miller    Elizabeth Turner
Jackie Earle Haley    Raymond Cobb
Tony Espinosa    Young Nat Turner
Jayson Warner Smith    Earl Fowler
Jason Stuart    Joseph Randall
Chike Okonkwo    Will
Katie Garfield    Catherine Turner
Kai Norris    Jasper
Chris Greene    Nelson
Kelvin Harrison Jr    Simon
Steve Coulter    General Childs
Jeryl Prescott Sales    Janice
Justin Randell Brooke    Guiles Reese
Dominic Bogart    Hank Fowler
Justin M. Smith    Jethro
Allen Scott    Abner
Aiden Flowers    Young John Clarke
Dane Davenport    John Clarke
Ryan Mulkay    Jesse
Danny Vinson    Benjamin Turner
Tom Proctor    E.T. Brantley
Dan Cox    Sheriff
Brad Schmidt    Lieutenant Akers
Mark McCullough    White Man
Chief Olaitan    Ezekiel
Coletrane Williams    Rebel Boy #1
Elijah C. Walker    Rebel Boy #2
Alkoya Brunson    Young Hark
Hank Stone    Slave Driver
Cullen Moss    Man
Gabriela Novogratz    Woman
Griffin Freeman    Young Samuel Turner
Courtney Julien    Rebel Slave #1
Tim McAdams    Rebel Slave #2
Todd Terry    Rebel Slave #3
David Andrew Nash    Rebel Slave #4
Jaye Tyroff    Armed White #1
David Lord    Armed White #2
Scott Loeser    Armed White #3
Greg Sproles    Armed White #4
Andy Martin    White Townsman
Kemuel Crossty    Rebel Man

Production and Technical Credits

Screenwriter    Nate Parker
Story by    Nate Parker
Story by    Jean McGianni Celestin
Producer    Aaron L. Gilbert
Producer    Nate Parker
Producer    Kevin Turen
Producer    Jason Michael Berman
Producer    Preston Holmes
Executive Producer    David Goyer
Executive Producer    Mike Novogratz
Executive Producer    Michael Finley
Executive Producer    Tony Parker
Executive Producer    Jason Cloth
Executive Producer    Jane Oster
Executive Producer    Andy Pollack
Executive Producer    Allan J. Stitt
Executive Producer    Barb Lee
Executive Producer    Carl H. Lindner III
Executive Producer    Derrick Brooks
Executive Producer    Jill Ahrens
Executive Producer    Ryan Ahrens
Executive Producer    Armin Tehrany
Executive Producer    Edward Zwick
Executive Producer    Mark Moran
Director of Photography    Elliot Davis
Production Designer    Geoffrey Kirkland
Editor    Steven Rosenblum
Costume Designer    Francine Jamison-Tanchuck
Composer    Henry Jackman
Co-Executive Producer    John Raymonds
Co-Executive Producer    Brenda Gilbert
Co-Executive Producer    Steven Thibault
Co-Executive Producer    Lori Massini
Co-Producer    Zak Tanjeloff
Co-Producer    Matthew Lindner
Co-Producer    Harrison Kreiss
Co-Producer    Ike Waldhaus
Co-Producer    Benjamin Renzo
Visual Effects Supervisor    George A. Loucas
Casting Director    Mary Vernieu
Casting Director    Michelle Wade Byrd
Unit Production Manager    Mark Moran
First Assistant Director    Tomas Deckaj
Second Assistant Director    Mark Stevens
Stunt Coordinator    Guss Williams
Associate Producer    Dan McClure
Additional Editor    Joe Hutshing
Production Supervisor    Caroline Connor
Script Supervisor    Renetta G. Amador
Sound Mixer    Whitney Ince
Art Director    Jack Ballance
Set Decorator    Jim Ferrell
Costume Supervisor    Jessica Fasman
Make up    Douglas Noe
Make up    Dionne Wynn
Hairstylist    Andrea Brotherton
Hairstylist    Talya Melvey
Special Effects Supervisor    Heath Hood
Special Effects Coordinator    Trey Gordon
Special Effects Coordinator    Raymond Talley
Special Effects Coordinator    Thompson Conrade
Location Manager    Laura Bryant
Second Unit Director    Tomas Deckaj
Post-Production Supervisor    Dan Voltz
Post-Production Supervisor    David McKimmie
Assistant Editor    Cindy Thornton
Assistant Editor    Pablo Prietto
Assistant Editor    Sherwood Jones
Assistant Editor    David Bilow
Assistant Editor    Sam Restivo
Visual Effects Producer    Joshua Spivack
Supervising Sound Editor    Mac Smith
Supervising Sound Editor    Craig Henighan
Sound Designer    Mac Smith
Supervising Sound Designer    Brandon Proctor
Re-recording Mixer    Brandon Proctor
Re-recording Mixer    Zach Martin
Re-recording Mixer    Craig Henighan
Sound Effects Editor    Dug Winningham
Dialogue Editor    Erik Foreman
Assistant Re-Recording Mixer    Dustin Capulong
Foley Mixer    Pietu Korhonen
Recordist    Tim Gomillion
Music Editor    Michael Bauer
Music Editor    Daniel Pinder
Music Editor    Jack Dolman
Score Producer    Henry Jackman
Additional Music    Anthony Willis

Weekend Wrap-Up: Accountant Wins with $24.71 million, but 2016 Goes Further in Debt

October 18th, 2016

The Accountant

The weekend box office was not good. The Accountant did beat expectations with $24.71 million, but the other wide releases missed expectations. As a result, the box office fell 6% from last weekend to $97 million. The weekend box office should never be below $100 million, outside of a few dead zones during the year. We’ve been below that mark too frequently this year. Worse still, this is 18% lower than the same weekend last year. Year-to-date, 2016 still has a substantial lead over 2015 at $8.78 billion to $8.43 billion. However, we are nearing the $325 million mark where we have reason to panic. Remember, The Force Awakens earned $650 million during 2015 and Rogue One is only expected to earn half that much this year. We need to maintain a lead that large, or else 2016 will likely lose in the year-over-year comparison in the end. More...

Weekend Estimates: The Accountant Pencils in $24.71 Million Weekend

October 16th, 2016

The Accountant

As expected, The Accountant will be the comfortable winner at the box office this weekend, with Warner Bros. projecting a $24.71 million debut for the thriller. That’s almost identical to the opening enjoyed by The Girl on the Train last weekend, and about average for Ben Affleck. His previous Fall outings all opened in somewhat the same vicinity: Gone Girl hit $37.5 million on opening weekend in 2014; Argo posted $19.5 million in 2012, ahead of a very fruitful box office run and eventual Best Picture award; The Town started out with $23.8 million in 2010. More...

Weekend Wrap-Up: Only Girl isn’t a Train Wreck earning $24.54 million

October 11th, 2016

The Girl on the Train

Over the weekend was Columbus Day, or as it is known in more and more places, Indigenous People’s Day. It’s also Thanksgiving Day up here in Canada and it would make more sense for Americans to celebrate Canadian Thanksgiving than Columbus Day. Canadian Thanksgiving is where you give thanks to all the Canadians that make your life better. For example, both Ryan Gosling and Ryan Reynolds are Canadian. Anyhoo... The weekend box office numbers were not buoyed by the semi-holiday on Monday as none of the new releases matched expectations. The Girl on the Train led the way by a wide margin with $24.54 million compared to $15.14 million for Miss Peregrine’s Home for Peculiar Children. Neither The Birth of a Nation nor Middle School: The Worst Years of My Life made it into the top five. The overall box office fell 9.5% from last weekend dropping to $103 million. That was 13% lower than the same weekend last year. Year-to-date, 2016 has earned $8.64 billion, putting it 4.4% / $370 million ahead of 2015. A couple of more weeks like this and we will have reason to hit the panic button. More...

Weekend Estimates: Girl on Train Pulls Out of Station with $24.6 Million

October 9th, 2016

The Girl on the Train

New releases are battling headwinds to make progress at the box office this weekend. The current political frenzy, and the lingering effects of Hurricane Matthew have both dragged down ticket sales, but one film has come out relatively unscathed. Going into the weekend, we had The Girl on the Train pegged at a $27 million opening. In the event, it will start with $24.7 million, according to Universal’s Sunday morning projection. Things are less rosy for the other two debutants. More...

Thursday Night Previews: Girl Won’t Be Gone after Earning $1.23 million

October 7th, 2016

The Birth of a Nation

The Girl on the Train got off to a good start with $1.23 million during its previews last night. This is essentially the same as Gone Girl managed during its previews back in 2014. Gone Girl earned a reported $1.2 million, so it could have been between $1.15 million to $1.24 million. Unfortunately for The Girl on the Train, Gone Girl’s reviews were stellar, while this film is earning mixed reviews. It won’t have the same legs, but this start does mean $30 million is a lot more likely than it was on Thursday’s predictions. More...

Weekend Predictions: Will Girl be the Rebirth of the Box Office?

October 6th, 2016

The Girl on the Train

October begins with a trio of wide releases, led by The Girl on the Train. The film’s reviews are mixed, which is not ideal, but also not fatal. The Birth of a Nation was looking to become an Awards Season player, but its reviews are not quite at that level. Finally there’s Middle School: The Worst Years of My Life. There are still no reviews and the buzz is as quiet as you can get for a wide release. This weekend last year, the only wide release was Pan and it bombed hard. However, The Martian remained on top with $37.01 million over the weekend. There’s almost no way The Girl on the Train will match that and last year had better depth as well. 2016’s slump will continue. More...

2016 Preview: October

October 1st, 2016

The Girl on the Train

September is over and we should all be glad about that. Unless the final weekend brings a surprise $100 million hit or two, 2016’s lead over 2015 will shrink over the month. There were some bright spots, most notably Sully, which will be the biggest hit of the month. On the other hand, we had more outright bombs than even midlevel hits. Sadly, October isn’t much better. There are a couple of films that could be $100 million hits, but most of the films will struggle to become midlevel hits. Both Inferno and The Girl on the Train are aiming for $100 million. One of them might get there too. If both get there, then October will be seen as a success. By comparison, last October was led by The Martian; however, because of a misalignment in the calendar, The Martian’s opening weekend actually lines up with the final weekend in September. It had great legs, so that will help 2015 early in the month, but the rest of the month was terrible last year and I think 2016 will come out ahead as a result. More...

Contest: Demon Night

September 30th, 2016

The Girl on the Train

I’m fairly certain The Girl on the Train will top the chart next weekend, as neither The Birth of a Nation nor Middle School: The Worst Years of My Life are expected to be anything more than midlevel hits. Because of that, The Girl on the Train is the obvious choice for the target film in this week's Box Office Prediction contest. In order to win, one must simply predict the opening weekend box office number for The Girl on the Train.

I was planning on starting the Trick or Treat contests this week; however, that plan lasted about 24 hours, as I checked my mail and found five copies of The Neon Demon on Blu-ray. I will be reviewing one and over the next two weeks I will be giving away the other four. The Neon Demon is technically a psychological horror movie, so it fits with the Halloween theme.

Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going over, will win either one of two “Treat” prizes, a copy of The Neon Demon on Blu-ray, or the “Trick” prize, a really bad movie that I’ve previously reviewed. Whoever comes the closest to predicting the film's opening 3-day weekend box office (Friday to Sunday), without going under, will also win win either one of two “Treat” prizes, a copy of The Neon Demon on Blu-ray, or the “Trick” prize, a really bad movie that I’ve previously reviewed. Finally, we will be choosing an entrant from the group of people who haven't won, or haven't won recently, and they will also win either one of two “Treat” prizes, a copy of The Neon Demon on Blu-ray, or the “Trick” prize, a really bad movie that I’ve previously reviewed.

Entries must be received by 10 a.m., Pacific Time on Friday to be eligible, so don't delay! More...

The shaded area represents the expected performance range for a film, based on its opening weekend box office. 95% of films fall within the shaded area. If a film trends towards the top end of the shaded area, it has good legs compared to the average film; if it trends towards the bottom end of the shaded area, it has poor legs. The predictive area is based on movies from the past 5 years.

Compare this performance with other movies…

Weekend Box Office Performance

DateRankGross% ChangeTheatersPer TheaterTotal GrossDays
2016/10/07 6 $7,004,254   2,105 $3,327   $7,004,254 3
2016/10/14 10 $2,747,601 -61% 2,105 $1,305   $12,275,735 10

Daily Box Office Performance

DateRankGross% ChangeTheatersPer TheaterTotal GrossDays
2016/10/07 4 $2,619,859   2,105 $1,245   $2,619,859 1
2016/10/08 7 $2,674,389 +2% 2,105 $1,270   $5,294,248 2
2016/10/09 7 $1,710,006 -36% 2,105 $812   $7,004,254 3
2016/10/10 7 $952,766 -44% 2,105 $453   $7,957,020 4
2016/10/11 6 $673,520 -29% 2,105 $320   $8,630,540 5
2016/10/12 7 $504,602 -25% 2,105 $240   $9,135,142 6
2016/10/13 7 $392,992 -22% 2,105 $187   $9,528,134 7
2016/10/14 10 $794,602 +102% 2,105 $377   $10,322,736 8
2016/10/15 10 $1,211,905 +53% 2,105 $576   $11,534,641 9
2016/10/16 9 $741,094 -39% 2,105 $352   $12,275,735 10
2016/10/17 8 $268,191 -64% 2,105 $127   $12,543,926 11
2016/10/18 9 $312,072 +16% 2,105 $148   $12,855,998 12
2016/10/19 9 $210,273 -33% 2,105 $100   $13,066,271 13

Weekly Box Office Performance

DateRankGross% ChangeTheatersPer TheaterTotal GrossDays
2016/10/07 6 $9,528,134   2,105 $4,526   $9,528,134 7

Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at