The Dog Stars (2026)
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| Theatrical Performance | ||
| Domestic Box Office | $7,709,729 | Details |
| International Box Office | $11,120,648 | Details |
| Worldwide Box Office | $18,830,377 | |
| OpusData ID: 713280100 More info... | ||
| Further financial details... | ||
Synopsis
After the world’s population has been ravaged by a pandemic, a man lives a lonesome existence in a Colorado airplane hangar with his dog and a dour gunman he has befriended. When a mysterious transmission comes through on the radio while he’s flying his old Cessna, it sparks a hunt for the provenance of the sound.
Metrics
| Opening Weekend: | $7,709,729 (100.0% of total gross) |
| Legs: | 1.00 (domestic box office/biggest weekend) |
| Domestic Share: | 40.9% (domestic box office/worldwide) |
| Production Budget: | $110,000,000 (worldwide box office is 0.2 times production budget) |
| Theater counts: | 3,330 opening theaters/3,330 max. theaters, 1.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $7,709,729 |
Movie Details
| Domestic Releases: | August 28th, 2026 (Wide) by 20th Century Studios August 28th, 2026 (IMAX) by 20th Century Studios |
| International Releases: | March 26th, 2026 (Wide) (Czech Republic)
August 26th, 2026 (Wide), released as La constelación del perro (Spain) August 26th, 2026 (Wide) (France) August 26th, 2026 (Wide) (Switzerland) August 26th, 2026 (Wide) (Philippines) ... Show all releases |
| MPA Rating: | R for strong violence, and language. (Rating bulletin 2934 (cert #55870), 4/29/2026) |
| Running Time: | 118 minutes |
| Cast, crew, or production detail: | Animal Lead |
| Plot point: | Romance |
| Social setting: | Epidemic, Post Apocalypse |
| Subgenre: | Action Adventure |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Action |
| Production Method: | Live Action |
| Creative Type: | Science Fiction |
| Production/Financing Companies: | Scott Free Films, 20th Century Studios |
| Production Countries: | United States, United Kingdom, Italy |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Aug 28, 2026 | 5 | $7,709,729 | 3,330 | $2,315 | $7,709,729 | 1 |
Daily Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|
| Aug 27, 2026 | P | $850,000 | 0 | $850,000 | |||
| Aug 28, 2026 | 4 | $2,986,729 | 3,330 | $897 | $2,986,729 | 1 | |
| Aug 29, 2026 | 5 | $2,796,186 | -6% | 3,330 | $840 | $5,782,915 | 2 |
| Aug 30, 2026 | 5 | $1,926,814 | -31% | 3,330 | $579 | $7,709,729 | 3 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Australia | 8/27/2026 | $447,277 | 325 | 325 | 0 | $447,277 | 8/31/2026 | |||
| Brazil | 8/27/2026 | $300,000 | 0 | 0 | 0 | $300,000 | 8/30/2026 | |||
| Bulgaria | 8/28/2026 | $13,176 | 64 | 64 | 0 | $13,176 | 8/31/2026 | |||
| Finland | 8/28/2026 | $59,868 | 83 | 83 | 83 | $59,868 | 8/31/2026 | |||
| France | 8/26/2026 | $1,500,000 | 0 | 0 | 0 | $1,500,000 | 8/30/2026 | |||
| Germany | 8/27/2026 | $400,000 | 0 | 0 | 0 | $400,000 | 8/30/2026 | |||
| Hungary | 8/27/2026 | $84,485 | 79 | 79 | 0 | $84,485 | 8/31/2026 | |||
| Italy | 8/26/2026 | $649,431 | 0 | 0 | 0 | $781,420 | 8/31/2026 | |||
| Japan | 8/28/2026 | $700,000 | 0 | 0 | 0 | $700,000 | 8/31/2026 | |||
| Lithuania | 8/28/2026 | $22,860 | 0 | 0 | 0 | $24,288 | 8/31/2026 | |||
| Mexico | 8/27/2026 | $900,000 | 0 | 0 | 0 | $900,000 | 8/30/2026 | |||
| Netherlands | 8/27/2026 | $276,102 | 122 | 122 | 122 | $276,102 | 8/31/2026 | |||
| New Zealand | 8/27/2026 | $76,815 | 97 | 97 | 0 | $76,815 | 8/31/2026 | |||
| Serbia and Montenegro | 8/27/2026 | $12,543 | 45 | 45 | 0 | $12,543 | 8/31/2026 | |||
| Spain | 8/26/2026 | $1,000,000 | 0 | 0 | 0 | $1,000,000 | 8/30/2026 | |||
| United Kingdom | 8/26/2026 | $1,400,000 | 0 | 0 | 0 | $1,400,000 | 8/31/2026 | |||
| Rest of World | $3,144,674 | |||||||||
| International Total | $11,120,648 | 8/31/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Jacob Elordi | Hig | |
| Margaret Qualley | Cima | |
| Josh Brolin | Bangley | |
| Guy Pearce | Pops |
Supporting
| Allison Janney | Darlene | |
| Benedict Wong | Aaron | |
| Ewen Bremner | Crossbow Hunter | |
| James Craze | Logan | |
| Sam Spruell | John | |
| Sai Bennett | Melissa | |
| Sebastian Rokison-Woodall | Ben | |
| Alara-Star Khan | Matilda | |
| Daisy Kakkar | Mennonite Woman | |
| Brendan O’Rourke | Bar Man — Grand Junction | |
| Jean Michel Sinisterra Munoz | Semi-Naked Monster / Fuddled Brain | |
| Mario Alberto Estrada Sanchez | Semi-Naked Monster / Fuddled Brain | |
| Luis Fernando Colombo | Semi-Naked Monster / Fuddled Brain | |
| Hideki Andrea Yamamoto | Raider #1 | |
| Soufiane Oulji | Raider #2 | |
| Kyshan Wilson | Female Teen | |
| Lorenzo Ubaldi | Male Teen | |
| Irene De Santis | Pale Woman | |
| Vladir Pereira | Grand Junction Attendant #1 | |
| Simone Carminati | Grand Junction Attendant #2 | |
| Roger Jean Nsengiyumva | Youth Baggage Handler #1 | |
| Shuo Chen | Youth Baggage Handler #2 | |
| Hamza Briakli | Youth Baggage Handler #3 | |
| Yordy Alberto Cagua Hermenejildo | Young Hunter | |
| Tatiana Rodolfi | Mennonite Band | |
| Diego Barbalace | Mennonite Band | |
| Marco De Leo | Mennonite Band | |
| Bruno Tripodi | Mennonite Band |
Production and Technical Credits
| Ridley Scott | Director | |
| Mark L. Smith | Screenwriter | |
| Peter Heller | Story based on the novel by | |
| Ridley Scott | Producer | |
| Michael Pruss | Producer | |
| Mark L. Smith | Producer | |
| Cliff Roberts | Producer | |
| Lily Brooks-Dalton | Executive Producer | |
| Brandon Scott Smith | Executive Producer | |
| Peter Heller | Executive Producer | |
| Aidan Elliott | Executive Producer | |
| Kirk Raymond | Executive Producer | |
| Marco Valerio Pugini | Executive Producer | |
| Erik Messerschmidt | Director of Photography | |
| Chris Seagers | Production Designer | |
| Claire Simpson | Editor | |
| Sam Restivo | Editor | |
| Janty Yates | Costume Designer | |
| Charley Henley | Visual Effects Supervisor | |
| Teresa Kelly | Co-Producer | |
| Harry Gregson-Williams | Composer | |
| Kate Rhodes James | Casting Director | |
| Aidan Elliott | Unit Production Manager | |
| Kirk Raymond | First Assistant Director | |
| Diego Cavallo | Unit Production Manager | |
| Roy Bava | First Assistant Director | |
| Martina Gotthansova | Key Second Assistant Director | |
| Peter John White | Stunt Coordinator | |
| Massimilano Ubaldi | Stunt Coordinator | |
| Marco Stefanelli | Stunt Coordinator | |
| Fenix Searle | Fight Choreographer | |
| Matthew Collinge | Supervising Sound Editor | |
| Danny Sheehan | Supervising Sound Editor | |
| Paul Massey | Re-recording Mixer | |
| Matthew Collinge | Re-recording Mixer | |
| Helen Judd | Visual Effects Producer | |
| Alexandro M. Santucci | Supervising Art Director | |
| Marco Furbatto | Art Director | |
| Briseide Siciliano | Art Director | |
| Riccardo Monti | Art Director | |
| Massimo Pauletto | Art Director | |
| Adriano Giombini | Art Director | |
| Brett Hirson | Art Director | |
| Alessandra Querzola | Set Decorator | |
| Stephane Bucher | Sound Mixer | |
| Clare Spragge | Costume Supervisor | |
| Luca Mazzoccoli | Make up | |
| Diarra Sidibe | Hairstylist | |
| Annie Penn | Script Supervisor | |
| Teresa Kelly | Post-Production Supervisor | |
| Danielle El-Hendi | Associate Editor | |
| Enrico Latella | Supervising Location Manager | |
| Andrea Pugini | Production Supervisor | |
| Neil Corbould | Special Effects Supervisor | |
| Alexey Kuznetsov | Dialogue and ADR Editor | |
| Rob Weatherall | Foley Mixer | |
| Joe O’Halloran | Foley Editor | |
| Tom Cumplen | Foley Editor |
Cast and crew with above-the-line roles are marked in bold. The line marks the division between above-the-line and below-the-line roles.
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 research@the-numbers.com.
Synopsis
After the world’s population has been ravaged by a pandemic, a man lives a lonesome existence in a Colorado airplane hangar with his dog and a dour gunman he has befriended. When a mysterious transmission comes through on the radio while he’s flying his old Cessna, it sparks a hunt for the provenance of the sound.
Metrics
| Opening Weekend: | $7,709,729 (100.0% of total gross) |
| Legs: | 1.00 (domestic box office/biggest weekend) |
| Domestic Share: | 40.9% (domestic box office/worldwide) |
| Production Budget: | $110,000,000 (worldwide box office is 0.2 times production budget) |
| Theater counts: | 3,330 opening theaters/3,330 max. theaters, 1.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $7,709,729 |
Movie Details
| Domestic Releases: | August 28th, 2026 (Wide) by 20th Century Studios August 28th, 2026 (IMAX) by 20th Century Studios |
| International Releases: | March 26th, 2026 (Wide) (Czech Republic)
August 26th, 2026 (Wide), released as La constelación del perro (Spain) August 26th, 2026 (Wide) (France) August 26th, 2026 (Wide) (Switzerland) August 26th, 2026 (Wide) (Philippines) ... Show all releases |
| MPA Rating: | R for strong violence, and language. (Rating bulletin 2934 (cert #55870), 4/29/2026) |
| Running Time: | 118 minutes |
| Cast, crew, or production detail: | Animal Lead |
| Plot point: | Romance |
| Social setting: | Epidemic, Post Apocalypse |
| Subgenre: | Action Adventure |
| Source: | Based on Fiction Book/Short Story |
| Genre: | Action |
| Production Method: | Live Action |
| Creative Type: | Science Fiction |
| Production/Financing Companies: | Scott Free Films, 20th Century Studios |
| Production Countries: | United States, United Kingdom, Italy |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Aug 28, 2026 | 5 | $7,709,729 | 3,330 | $2,315 | $7,709,729 | 1 |
Daily Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|
| Aug 27, 2026 | P | $850,000 | 0 | $850,000 | |||
| Aug 28, 2026 | 4 | $2,986,729 | 3,330 | $897 | $2,986,729 | 1 | |
| Aug 29, 2026 | 5 | $2,796,186 | -6% | 3,330 | $840 | $5,782,915 | 2 |
| Aug 30, 2026 | 5 | $1,926,814 | -31% | 3,330 | $579 | $7,709,729 | 3 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Australia | 8/27/2026 | $447,277 | 325 | 325 | 0 | $447,277 | 8/31/2026 | |||
| Brazil | 8/27/2026 | $300,000 | 0 | 0 | 0 | $300,000 | 8/30/2026 | |||
| Bulgaria | 8/28/2026 | $13,176 | 64 | 64 | 0 | $13,176 | 8/31/2026 | |||
| Finland | 8/28/2026 | $59,868 | 83 | 83 | 83 | $59,868 | 8/31/2026 | |||
| France | 8/26/2026 | $1,500,000 | 0 | 0 | 0 | $1,500,000 | 8/30/2026 | |||
| Germany | 8/27/2026 | $400,000 | 0 | 0 | 0 | $400,000 | 8/30/2026 | |||
| Hungary | 8/27/2026 | $84,485 | 79 | 79 | 0 | $84,485 | 8/31/2026 | |||
| Italy | 8/26/2026 | $649,431 | 0 | 0 | 0 | $781,420 | 8/31/2026 | |||
| Japan | 8/28/2026 | $700,000 | 0 | 0 | 0 | $700,000 | 8/31/2026 | |||
| Lithuania | 8/28/2026 | $22,860 | 0 | 0 | 0 | $24,288 | 8/31/2026 | |||
| Mexico | 8/27/2026 | $900,000 | 0 | 0 | 0 | $900,000 | 8/30/2026 | |||
| Netherlands | 8/27/2026 | $276,102 | 122 | 122 | 122 | $276,102 | 8/31/2026 | |||
| New Zealand | 8/27/2026 | $76,815 | 97 | 97 | 0 | $76,815 | 8/31/2026 | |||
| Serbia and Montenegro | 8/27/2026 | $12,543 | 45 | 45 | 0 | $12,543 | 8/31/2026 | |||
| Spain | 8/26/2026 | $1,000,000 | 0 | 0 | 0 | $1,000,000 | 8/30/2026 | |||
| United Kingdom | 8/26/2026 | $1,400,000 | 0 | 0 | 0 | $1,400,000 | 8/31/2026 | |||
| Rest of World | $3,144,674 | |||||||||
| International Total | $11,120,648 | 8/31/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Jacob Elordi | Hig | |
| Margaret Qualley | Cima | |
| Josh Brolin | Bangley | |
| Guy Pearce | Pops |
Supporting
| Allison Janney | Darlene | |
| Benedict Wong | Aaron | |
| Ewen Bremner | Crossbow Hunter | |
| James Craze | Logan | |
| Sam Spruell | John | |
| Sai Bennett | Melissa | |
| Sebastian Rokison-Woodall | Ben | |
| Alara-Star Khan | Matilda | |
| Daisy Kakkar | Mennonite Woman | |
| Brendan O’Rourke | Bar Man — Grand Junction | |
| Jean Michel Sinisterra Munoz | Semi-Naked Monster / Fuddled Brain | |
| Mario Alberto Estrada Sanchez | Semi-Naked Monster / Fuddled Brain | |
| Luis Fernando Colombo | Semi-Naked Monster / Fuddled Brain | |
| Hideki Andrea Yamamoto | Raider #1 | |
| Soufiane Oulji | Raider #2 | |
| Kyshan Wilson | Female Teen | |
| Lorenzo Ubaldi | Male Teen | |
| Irene De Santis | Pale Woman | |
| Vladir Pereira | Grand Junction Attendant #1 | |
| Simone Carminati | Grand Junction Attendant #2 | |
| Roger Jean Nsengiyumva | Youth Baggage Handler #1 | |
| Shuo Chen | Youth Baggage Handler #2 | |
| Hamza Briakli | Youth Baggage Handler #3 | |
| Yordy Alberto Cagua Hermenejildo | Young Hunter | |
| Tatiana Rodolfi | Mennonite Band | |
| Diego Barbalace | Mennonite Band | |
| Marco De Leo | Mennonite Band | |
| Bruno Tripodi | Mennonite Band |
Production and Technical Credits
| Ridley Scott | Director | |
| Mark L. Smith | Screenwriter | |
| Peter Heller | Story based on the novel by | |
| Ridley Scott | Producer | |
| Michael Pruss | Producer | |
| Mark L. Smith | Producer | |
| Cliff Roberts | Producer | |
| Lily Brooks-Dalton | Executive Producer | |
| Brandon Scott Smith | Executive Producer | |
| Peter Heller | Executive Producer | |
| Aidan Elliott | Executive Producer | |
| Kirk Raymond | Executive Producer | |
| Marco Valerio Pugini | Executive Producer | |
| Erik Messerschmidt | Director of Photography | |
| Chris Seagers | Production Designer | |
| Claire Simpson | Editor | |
| Sam Restivo | Editor | |
| Janty Yates | Costume Designer | |
| Charley Henley | Visual Effects Supervisor | |
| Teresa Kelly | Co-Producer | |
| Harry Gregson-Williams | Composer | |
| Kate Rhodes James | Casting Director | |
| Aidan Elliott | Unit Production Manager | |
| Kirk Raymond | First Assistant Director | |
| Diego Cavallo | Unit Production Manager | |
| Roy Bava | First Assistant Director | |
| Martina Gotthansova | Key Second Assistant Director | |
| Peter John White | Stunt Coordinator | |
| Massimilano Ubaldi | Stunt Coordinator | |
| Marco Stefanelli | Stunt Coordinator | |
| Fenix Searle | Fight Choreographer | |
| Matthew Collinge | Supervising Sound Editor | |
| Danny Sheehan | Supervising Sound Editor | |
| Paul Massey | Re-recording Mixer | |
| Matthew Collinge | Re-recording Mixer | |
| Helen Judd | Visual Effects Producer | |
| Alexandro M. Santucci | Supervising Art Director | |
| Marco Furbatto | Art Director | |
| Briseide Siciliano | Art Director | |
| Riccardo Monti | Art Director | |
| Massimo Pauletto | Art Director | |
| Adriano Giombini | Art Director | |
| Brett Hirson | Art Director | |
| Alessandra Querzola | Set Decorator | |
| Stephane Bucher | Sound Mixer | |
| Clare Spragge | Costume Supervisor | |
| Luca Mazzoccoli | Make up | |
| Diarra Sidibe | Hairstylist | |
| Annie Penn | Script Supervisor | |
| Teresa Kelly | Post-Production Supervisor | |
| Danielle El-Hendi | Associate Editor | |
| Enrico Latella | Supervising Location Manager | |
| Andrea Pugini | Production Supervisor | |
| Neil Corbould | Special Effects Supervisor | |
| Alexey Kuznetsov | Dialogue and ADR Editor | |
| Rob Weatherall | Foley Mixer | |
| Joe O’Halloran | Foley Editor | |
| Tom Cumplen | Foley Editor |
Cast and crew with above-the-line roles are marked in bold. The line marks the division between above-the-line and below-the-line roles.
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 research@the-numbers.com.