China Box Office for Midway (2019)

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Midway
Theatrical Performance (US$)
China Box Office $42,082,052Details
Worldwide Box Office $126,787,360Details
Home Market Performance
North America DVD Sales $11,887,771 Details
North America Blu-ray Sales $19,436,342 Details
Total North America Video Sales $31,324,113
Further financial details...

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

Synopsis

The Battle of Midway, a clash between the American fleet and the Imperial Japanese Navy, marked a pivotal turning point in the Pacific Theater during World War II. The film, based on the real-life events of this heroic feat, tells the story of the leaders and soldiers who used their instincts, fortitude and bravery to overcome the odds.

Metrics

Movie Details

Production Budget:$100,000,000
China Releases: November 7th, 2019 (Wide)
Video Release: February 4th, 2020 by Lionsgate Home Entertainment
MPAA Rating: PG-13 for sequences of war violence and related images, language and smoking.
(Rating bulletin 2598 (Cert #52268), 10/2/2019)
Running Time: 138 minutes
Keywords: World War II, 1940s, War, Navy, On a Boat, In a Plane, Historical Battles, Ensemble, Action Adventure
Source:Based on Real Life Events
Genre:Action
Production Method:Live Action
Creative Type:Dramatization
Production/Financing Companies: Providence Film Partners, Centropolis Entertainment, Entertainment One, Lionsgate, Shanghai Ruyi Entertainment, Beijing Universe Starlight Culture Media Company, Street Entertainment , AGC
Production Countries: Canada, United States
Languages: English

Home Market Releases for February 18th, 2020

February 19th, 2020

Jojo Rabbit

There are not a lot of major releases on this week’s list, but what we lack in quantity, we more than make up for in quality. In fact, there are five contenders for Pick of the Week and a couple of other smaller releases that might end up in my collection soon. It is going to be a rough week on my wallet. These include a couple of Oscar contenders, A Beautiful Day in the Neighborhood and Jojo Rabbit; a couple of animated releases, The Point! and Tex Avery: Screwball Classics: Volume 1; and a TV on DVD Megaset, Unbreakable Kimmy Schmidt: The Complete Series. All five releases are worth picking up, but I’m going with Jojo Rabbit as this week’s Pick of the Week. More...

Home Market Releases for February 4th, 2020

February 5th, 2020

That Time I Got Reincarnated as a Slime

It is a slow week for truly great releases. Both Doctor Sleep and The Nightingale are worth picking up, but not Pick of the Week contenders. Last Christmas is also worth picking up, but only if you like Romantic Comedies with magical realism. As for the Pick of the Week, I’m going with That Time I Got Reincarnated as a Slime: Season One, Part Two and if you really into Isekai Anime, grab Isekai Quartet: Season One as well. More...

Weekend Predictions: Will Audiences be Thankful this Thanksgiving?

November 27th, 2019

Frozen II

There are two wide releases this Thanksgiving, both of which are earning stellar reviews. Unfortunately, only one of those two films, Knives Out, is expected to make any real impact at the box office. Queen and Slim is just hoping to reach the top five. That said, both films will be crushed by Frozen II, which broke records last weekend and it is expected to have a strong hold during the holidays. This weekend last year was the weekend after Thanksgiving and the biggest new release was The Possession of Hannah Grace. Queen and Slim should top that at the box office. In fact, Knives Out might top Ralph Breaks the Internet’s sophomore stint, so even without Frozen II, the weekend would be looking good. 2019 might do well enough on the year-over-year competition that it will save November and give the year a real shot at ending on a strong note. More...

Weekend Wrap-Up: Frozen has Fantastic Opening with $130.26 million

November 26th, 2019

Frozen II

Frozen II beat expectations over the weekend, and earned several records along the way. In fact, its three-day opening of $130.26 million is better than the previous 5-day Thanksgiving weekend for an animated film, a record previously held by Frozen. The other two new releases, A Beautiful Day in the Neighborhood and 21 Bridges, missed expectations, but were close enough that the overall box office was very healthy. In fact, the box office rose 89% from last weekend to $204 million. This was 5.7% lower than the same weekend last year, but this weekend last year was Thanksgiving, so being down by 5.7% during a holiday misalignment is a fantastic result. We did lose the weekday holidays, so year-over-year, 2019 lost a lot of ground to 2018 and is now behind last year’s pace by 7.4% or $770 million at $9.71 billion to $10.48 billion. We should gain a lot next weekend, thanks to Thanksgiving, and by the first weekend of December, things will settle down. More...

Weekend Estimates: Frozen II Sets Animation Records with $127 million

November 24th, 2019

Frozen II

It didn’t look like Frozen II would match our $125 million prediction based on Friday’s estimate, but if weekend estimates hold, it will did so with $127.0 million. This is not only the highest opening weekend for an Animated film in November, but anytime outside of summer. This greater-than-anticipated internal multiplier stronger suggests better legs overall. It is a family film opening just before Thanksgiving, so it was expected to have long legs regardless, but its reviews and its A minus from CinemaScore were merely good and not great. Add in the sequel effect and the film leg’s wouldn’t be nearly as stunning as the first Frozen’s legs were. However, after this result, I’m a lot more confident the film will still be at least a truly wide release come January, if not a saturation level release, as its predecessor was. More...

Friday Estimates: Frozen II Sets Fire to the Record Book

November 23rd, 2019

Frozen II

As expected, Frozen II started with a record-breaking Friday, as the film pulled in $41.8 million during its opening day, the best day in November for an animated film. Combine this start with its reviews and its A minus from CinemaScore and the film should have decent legs. The audience reaction is a little disappointing, so I think our prediction of $125 million is unlikely. It will come close enough to become a huge hit domestically. In fact, it is on pace to smash the November 3-day weekend for an animated film by the middle of Saturday and the five-day Thanksgiving weekend for any film by the middle of Sunday, and it isn’t even Thanksgiving. Those records are currently held by The Incredibles ($70.5 million) and The Hunger Games: Catching Fire ($109.9 million). The Incredibles record will obviously be broken, but we’ll have to wait until next week to see what Thanksgiving looks like. Frozen II is the fastest-starting November animated release of all time, but I don’t think it will have the legs to catch Frozen’s domestic total, unless it is able to remain in saturation level wide release until the New Year. More...

Weekend Predictions: Can Frozen Heat Up the Box Office?

November 21st, 2019

Frozen II

The winter holiday season unofficially began on the first weekend of November and so far performance at the box office has been less than acceptable. That needs to—and should—turn around this weekend. According to most industry trackers, Frozen II should break records. Its reviews are far from award-worthy, but they are great for a family film. On the other hand, A Beautiful Day in the Neighborhood’s reviews are award-worthy and the film should have really long legs, especially if major nominations start rolling in. Finally, 21 Bridges has the weakest reviews and the lowest box office potential of the three wide releases this week. This weekend last year was led by the one-two punch of Ralph Breaks the Internet and Creed II. Frozen II should easily earn more than those two’s combined $92 million. Unfortunately, last year there were four films that topped $20 million over the weekend, while this year there will be only one. Last year’s depth will likely result in 2019 losing yet another weekend in the year-over-year competition. At least it should be close. More...

Weekend Wrap-Up: Ford v Ferrari has no Competition at the Box Office

November 18th, 2019

Ford v Ferrari

Ford v Ferrari had a good opening over the weekend, but unfortunately, it was only good and not great. Furthermore, it was the only film that had a good weekend. The other two new releases crashed and burned, while the holdovers couldn’t compensate for this weakness. The overall box office fell 11% from last weekend to just $108 million, which was 37% lower than the same weekend last year. The year-to-date numbers don’t look any better, as 2019 is now behind 2018’s pace by a margin of 6.5% or $660 million at $9.47 billion to $10.13 billion. Worse still, 2019 has fallen behind 2016’s pace. Things need to turn around and fast. More...

Weekend Estimates: Ford and Ferrari v Top Five

November 17th, 2019

Ford v Ferrari

If the weekend estimates hold, then Ford v Ferrari, with an estimated $31.04 million, will open with almost as much as the rest of the top five combined. A lot of time when something like this happens, it is because there’s a monster hit opening. In this case, Ford v Ferrari will need strong legs just to top its production budget and hit $100 million at the box office and it is dominating the box office due to really weak competition. Fortunately, the film should have strong legs thanks to its reviews and its A plus from CinemaScore. The film is not doing as well internationally with an opening of $21.4 million in 41 markets. This includes a $3.2 million debut in Russia and $2.3 million debuts in the U.K. and France. If the film can earn some Awards Season buzz, then it could have the legs to get to $250 million worldwide, which should be enough to break even sometime during its home market run. More...

Friday Estimates: Ford v Ferrari Laps the Competition

November 16th, 2019

Ford v Ferrari

Ford v Ferrari is going to dominate the weekend chart. In fact, it earned more on Friday than the second place film is expected to earn during the full weekend. The film pulled in $10.94 million during its opening day, putting it on pace for $30 million over the full weekend, which is significantly ahead of our prediction. Its reviews and its A plus from CinemaScore should result in stellar word-of-mouth. It might even do well during Awards Season, although if it does win any Oscars, I think it will be limited to technical categories. More...

Weekend Predictions: Can Ford get the Pole Position on the Angels?

November 14th, 2019

Ford v Ferrari

There are three wide releases coming out this week and at the moment, all three of them have positive reviews. Unfortunately, that’s the end of the good news. Ford v Ferrari is the best new release of the week and should have no trouble earning first place on the box office. On the other hand, the film cost nearly $100 million to make, so it will likely struggle to break even any time soon. Charlie’s Angels cost half as much to make, but it is also on track to open with about half as much. The Good Liar is the smallest of the three new films and, with a more mature target audience, it is unlikely to have a big opening. Worse still, it is likely all three new releases this week will earn less than Fantastic Beasts: The Crimes of Grindelwald opened with this weekend last year. 2019 is going to take another beating in the year-over-year competition and it might even be worse than last weekend was. More...

International Box Office: Terminator Tops Production Budget Worldwide

November 14th, 2019

Terminator: Dark Fate

Terminator: Dark Fate will lose money. That is almost guaranteed at this point. However, it did manage to top its production budget at the worldwide box office in just its third weekend of release, meaning it is going to save face, mostly. The film earned $29.9 million in 53 markets over the weekend for totals of $150.9 million internationally and $199.4 million worldwide. This includes a $6.0 million opening in Japan; however, the film opened on Friday and not Saturday, which is the usual opening day in that market. That was still enough for first place over the two-day weekend and more than it made here, given the relative size of the two markets. It also opened in first place in Taiwan with $1.1 million over the three-day weekend and $1.4 million including Thursday. The film’s biggest market remains China, where the film earned $7.21 million over the weekend for a two-week total of $45.85 million. More...

Weekend Wrap-Up: The Box Office is in a Deep Sleep

November 12th, 2019

Midway

It was a weekend to forget with the four new releases earning significantly less than The Grinch opened with last year. Still, the four new releases took the to four spots, meaning there were no powerful holdovers to make up the difference. Midway was the best of the bunch, while Playing with Fire was the biggest positive surprise. Unfortunately, Doctor Sleep missed expectations by a larger margin than those two films beat our predictions, so the good news was drowned out by the bad. Overall, the box office was 5.9% higher than last weekend at $121 million. This is not a reason to celebrate, as last weekend was arguably Halloween weekend, which is one of the worst weekends of the year. More importantly, the weekend was behind the same weekend last year by 28%. 2019 is now behind 2018’s pace by 5.9% or $580 million at $9.32 billion to $9.90 billion. However, and this is important, as bad as 2019 has been doing, we are still ahead of 2017’s pace, both in terms of raw dollars and ticket sales, so there’s no need to panic. While we would prefer to set records every year, being the second best year at the box office is still worth celebrating. More...

Weekend Estimates: Midway Overcomes the Odds to Come out on Top

November 10th, 2019

Midway

Midway wasn’t supposed to be a major hit, and it won’t be, but, sadly for all the other new films, it is opening in first place at the box office. In fact, its weekend estimate is $17.49 million, which is less than 10% above our prediction, but it was able to earn first place with relative ease. The film only managed mixed reviews, but it did earn an A-rating from CinemaScore. Additionally, there are holidays coming up, so it could have surprisingly long legs. The film also opened in China with $4.48 million. It’s hard to use this result as a guide for other markets, as there haven’t been enough American-centric war movies released in China to compare against. More...

Friday Estimates: Midway is the High Point of the Weekend

November 9th, 2019

Midway

Midway made a surprisingly strong debut to earn first place on Friday with an estimated $6.34 million. Its reviews have improved and are currently 40% positive. Granted, this isn’t great, or even merely good, but it is also not so bad that it will be a major drag at the box office. Furthermore, the film scored a solid A-rating from CinemaScore, indicating its target audience loved the movie, especially compared to critics. Add in a more mature target audience and the film should have solid legs, helping it earn close to $18 million during its opening weekend. Granted, the film cost $50 million to make, so it will still need help internationally and on the home market to break even after a start like this, but this is still much better than most people were expecting. More...

Thursday Previews: Doctor Sleep Hits the Snooze Alarm

November 8th, 2019

Doctor Sleep

It looks like it could be a slow weekend at the box office. Doctor Sleep only managed $1.5 million during its previews, which is lower than anticipated. There are some reasons to be optimistic. Firstly, it does have the best reviews of the four new releases and this is technically a long weekend, as Veteran's Day is on Monday. On the other hand, I was expecting closer to $2 million during its previews. More...

Can Doctor Sleep Wake Up the Box Office?

November 7th, 2019

Doctor Sleep

It is not a banner week for stellar new releases. Doctor Sleep is earning good reviews, but not great reviews. Sadly, it is award-worthy compared to most of the other new releases. Last Christmas is earning mixed reviews, but that’s to be expected for a romantic comedy. The less said about Midway or Playing with Fire’s reviews, the better. This weekend last year, The Grinch opened with $67 million, which is likely more than all four new films will open with this year. In fact, last year’s number two film, Bohemian Rhapsody, will likely earn more than any one film will earn this year. 2019 is going to take a beating in the year-over-year competition. More...

2019 Preview: November

November 1st, 2019

Frozen II

Joker single-handedly saved October. Had the film merely matched expectations, then the month would had suffered a major loss in the year-over-year competition. We sill lost a little ground, but not so much that we will look to October as the reason 2019 missed last year’s pace. As for November, we have some potential monster hits with Frozen II leading the way. If that film doesn’t earn at least $1 billion worldwide, I will be shocked. Additionally, every week has at least one movie coming out that has a somewhat realistic shot at $100 million, although not all of them will get there. Unfortunately, last November was much better, with five films that topped $100 million, including three that earned more than $200 million. I think 2019 will be better at the top, but it just won’t have the depth to keep pace with last year. More...

Midway Trailer

June 28th, 2019

Action movie based on real-life events, with an ensemble cast led by Ed Skrein, Patrick Wilson, and Mandy Moore, directed by Roland Emmerich opens November 8 ... Full Movie Details. More...

Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.

Weekend Box Office Performance

DateRankGross% ChangeScreensPer ScreenTotal GrossWeek
2019/11/08 2 $16,790,000   77,941 $215   $16,130,000 1
2019/11/15 5 $7,080,000 -58% 34,814 $203   $31,000,000 2
2019/11/22 5 $3,690,000 -48% 19,788 $186   $38,260,000 3
2019/11/29 7 $1,080,000 -71% 8,175 $132   $41,550,000 4

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 11/29/2019 $66,337 170 170 370 $176,629 1/3/2020
Australia 1/31/2020 $768,478 282 282 1307 $2,584,139 11/20/2020
Brazil 11/22/2019 $221,252 422 422 422 $226,907 12/1/2019
Bulgaria 11/15/2019 $17,693 0 0 0 $59,385 12/18/2019
China 11/7/2019 $16,790,000 77941 77941 140718 $42,082,052 1/10/2020
Czech Republic 11/8/2019 $112,971 114 114 237 $294,616 10/19/2022
France 11/7/2019 $1,000,000 0 408 1040 $3,228,398 12/7/2019
Germany 11/8/2019 $384,132 0 0 0 $384,132 11/17/2019
Hong Kong 11/8/2019 $62,630 0 0 0 $942,783 1/5/2020
Italy 11/27/2019 $635,558 0 6 6 $1,269,303 10/19/2022
Japan 9/11/2020 $766,547 0 0 0 $1,076,490 9/18/2020
Lithuania 11/8/2019 $56,963 14 14 37 $129,188 12/4/2019
Mexico 11/15/2019 $520,698 0 0 0 $1,361,101 10/19/2022
Middle East Region 11/8/2019 $906,738 0 0 0 $906,738 11/13/2019
Netherlands 11/8/2019 $498,942 112 112 626 $2,106,080 10/19/2022
New Zealand 11/7/2019 $7,196 8 73 450 $356,246 4/22/2024
North America 11/8/2019 $17,897,419 3,242 3,242 15,920 $56,846,802
Portugal 11/8/2019 $157,397 78 78 270 $385,016 10/19/2022
Romania 11/15/2019 $80,118 50 50 182 $222,125 1/22/2020
Russia (CIS) 11/14/2019 $400,515 1061 1061 3195 $709,955 10/19/2022
Slovakia 11/15/2019 $41,985 59 59 108 $98,638 12/18/2019
Slovenia 11/8/2019 $11,509 24 24 84 $50,896 4/6/2020
South Korea 12/31/2019 $2,325,781 842 842 1877 $7,363,663 6/17/2021
Spain 12/6/2019 $579,825 267 275 801 $1,322,088 1/9/2020
Turkey 11/29/2019 $75,456 239 239 419 $158,880 10/19/2022
United Kingdom 11/8/2019 $965,828 496 496 1195 $2,445,110 11/27/2019
 
Worldwide Total$126,787,360 4/22/2024

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.

Lead Ensemble Members

Ed Skrein    Dick Best
Patrick Wilson    Edwin Layton
Luke Evans    Commander Wade McClusky
Aaron Eckhart    Lieutenant Colonel Jimmy Doolittle
Nick Jonas    Bruno Gaido
Mandy Moore    Anne Best
Dennis Quaid    William “Bull” Halsey
Woody Harrelson    Admiral Chester W. Nimitz
Jun Kunimura    Chuichi Nagumo

Supporting Cast

Etsushi Toyokawa    Isoroku Yamamoto
Tadanobu Asano    Tamon Yamaguchi
Jake Weber    Rear Admiral Raymond Spruance
Luke Kleintank    Lieutenant Clarence Earle Dickinson
Darren Criss    Eugene Lindsey
Keean Johnson    James Murray
Rachael Perrell Fosket    Dagne Layton
Alexander Ludwig    Roy Pearce
Brennan Brown    Joseph Rochefort
Geoffrey Blake    John Ford
Kenny Leu    Zhu Xuesan
Jake Manley    Willie West
Mark Rolston    Ernest King
Eric Davis    Miles Browning
Brandon Sklenar    George “Tex” Gay
Nobuya Shimamoto    Kaku Tomeo
David Hewlett    Husband Kimmel
Peter Shinkoda    Genda Minoru
James Carpinello    William Brockman
Tim Beckmann    Bernard Rawlings
Sarah Halford    Marie Pearce
Cameron Brodeur    Sully Brown
Hiromoto Ida    Prime Minister Tojo
Hiroaki Shintani    Emperor Hirohito
Russell Lewis    Frank O’Flaherty
Mikael Conde    Bill Miller
Madison Roukema    Barbara Best
Christie Brooke    Millicent McClusky
Dustin Geiger    Paul Crosley
Jason Lee Hoy    Pat Rooney
Ellen Dubin    Admiral King Secretary
Jason New    Marine Captain (Midway)
Dean Schaller    Jack Mackenzie, Jr.
Jacob Blair    Hank Potter
Kayo Yasuhara    Geisha
Rudolph Wallstrum    Petty Officer (Pacific HQ)
Matthew MacCaull    Staff Officer (Nimitz)
Phil Wang    Chinese Major
Johan Denora    Radioman #1 (Enterprise SC)
Nico De Castris    Radioman #2 (Enterprise SC)
Alexandre Dubois    Radar Officer (Enterprise)
Tyler Elliot Burke    Radar Officer (Enterprise)
Raphael Grosz-Harvey    Lt. JG (Hospital)
Trevor Danielson    Talker
Agostino Michael Cimino*    Buzz Davis (Sonar Tech Nautilus)
Takeshi Kurokawa    Imperial Guardsman
Ryuta Kato    Japanese Junior Guardsman
Garret T. Sato    Japanese Officer (Prison)
Neil Girvan    Navy Yard Inspector
Ellis Arch    Lofton Henderson
Robert Crooks    McClusky’s Radioman
Sean Colby    Gay’s Radioman
Kasey Mazak    Signal Officer (Akagi)
Ryo Hayashida    Deck Officer (Akagi)
Leonardo Boudreau    Passing Sailor
Tony Christopher    SBD Pilot (Enterprise)
Yuta Takenaka    Staff Officer (Yamato)
Tatsuya Shirato    Flag Officer (Yamato)
Tyler Hall    William “Slim” Townsend
Kyle Bougeno    Smoking Sailor
David Dacosta    Breathless Ensign (Enterprise)
Kazuki Gonzalez-Adachi    Hiryu Helmsman
Reyn Halford    Torpedo Room Chief
Toyoaki Ito Leung    Japanese Boy (10 Years Old)
Halta Nonen    Japanese Boy (6 Years Old)
Adrian Spencer    Chief Medic (Enterprise)
James Hicks    Edwin Kroeger
Sebastian Pigott    Petty Officer #2
Simon Pelletier-Gilbert    Yorktown Spotter
Philippe Verville    Doolittle’s Bombardier
Shigeru Yabuta    Japanese Duck Netting Officer
Seunghwan Min    Zero Pilots Squadron Leader
Christopher Tapia    Hiryu Pointer
Sangwon Jun    Hiryu Talker
Motoo Taira    Akagi Spotter
Ana Maria Lombo    Ballroom Singer

For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.

Production and Technical Credits

Roland Emmerich    Director
Wes Tooke    Screenwriter
Roland Emmerich    Producer
Harald Kloser    Producer
Mark Gordon    Executive Producer
Marco Shepherd    Executive Producer
Wes Tooke    Executive Producer
Peter Luo    Executive Producer
Han Sanping    Executive Producer
Ke Liming    Executive Producer
Jie Yu    Executive Producer
Yu Dong    Executive Producer
Jeffrey Chan    Executive Producer
Brent O’Connor    Executive Producer
Carsten Lorenz    Executive Producer
Ute Emmerich    Executive Producer
Stuart Ford    Executive Producer
Alastair Burlingham    Executive Producer
Gary Raskin    Executive Producer
John Paul Pettinato    Co-Producer
Robby Baumgartner    Director of Photography
Kirk M. Petruccelli    Production Designer
Adam Wolfe    Editor
Harald Kloser    Composer
Thomas Wander    Composer
Mario Davignon    Costume Designer
Peter G. Travers    Visual Effects Supervisor
Tricia Mulgrew    Visual Effects Producer
Stephan Trojansky    Co-Producer
Thilo Kuther    Co-Producer
Perry Kain    Co-Producer
John Papsidera    Casting Director
Andrea Kenyon    Casting Director
Randi Wells    Casting Director
Brent O’Connor    Unit Production Manager
Bethan Mowat    First Assistant Director
Gilles Perreault    Unit Production Manager
Carsten Lorenz    Unit Production Manager
Esteban Sanchez    Second Assistant Director
Wainani Young Tomich    Second Assistant Director
John A. Amicarella    Associate Producer
John A. Amicarella    Post-Production Supervisor
Ryan Stevens Harris    Additional Editor
Paul O’Bryan    Additional Editor
Thomas Schobel    Additional Music
Greg P. Russell    Re-recording Mixer
Tom Marks    Re-recording Mixer
Patrick Kerton    Stunt Coordinator
Isabelle Guay    Supervising Art Director
Carolyne De Bellefeuille    Art Director
Jean-Pierre Paquet    Art Director
Robert Parle    Art Director
Claude Goyette    Set Designer
Chris Lewis    Set Designer
Frederic Amblard    Set Designer
Gaby Miegeville-Little    Set Designer
Jean Gagnon    Set Designer
Justin Neenan    Set Designer
Renaud Chamberland    Set Designer
Simon Theberge    Set Designer
Radia Slaimi    Set Designer
Carolyn Loucks    Set Decorator
Lorette LeBlanc    Script Supervisor
Louis Marion    Sound Mixer
Paul O’Bryan    First Assistant Editor
Ryan Stevens Harris    Assistant Editor
Peter Bawiec    Supervising Sound Editor
Jan Bezouska    Sound Effects Editor
Matt Yocum    Sound Effects Editor
Greg P. Russell    Sound Effects Editor
Taylor Westerfield    Dialogue Editor
Tom Marks    Dialogue Editor
Kacper Habisiak    Supervising Foley Editor
Marcin Kasiński    Supervising Foley Editor
Filip Stefanowski    Foley Mixer
Natalia Lubowiecka    Foley Editor
Michal Wilczewski    Foley Editor
Thomas Schobel    Music Editor
Bernd Mazagg    Score Recordist
Felix Lariviere-Charron    Hairstylist
Michele St-Arnaud    Location Manager
Guillaume Murray    Special Effects Supervisor

The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.