Once Upon a Time in Harlem (2026)
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| Theatrical Performance | ||
| Domestic Box Office | $182,042 | Details |
| OpusData ID: 811960100 More info... | ||
| Further financial details... | ||
Synopsis
A decade after his death, one of the most significant and compelling filmmakers of the past century has one last trick up his sleeve: a trove of never-before-seen footage that he believed to be the most important he ever filmed. On a summer evening in 1972, a pivotal generation of Harlem Renaissance artists and intellectuals gathered at Duke Ellington’s townhouse. For over three hours, this extraordinary group - many of whom had not seen each other in fifty years - reminisced, critiqued, argued, laughed, and drank while wrestling with their place in a rapidly shifting cultural landscape.
Metrics
| Opening Weekend: | $65,073 (35.7% of total gross) |
| Legs: | 2.80 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 2 opening theaters/3 max. theaters, 1.7 weeks average run per theater |
| Infl. Adj. Dom. BO | $182,042 |
Movie Details
| Domestic Releases: | October 16th, 2026 (Limited) by Neon |
| MPA Rating: | PG-13 for some disturbing images, strong racial language, smoking, and brief partial nudity. (Rating bulletin 2948 (cert #56129), 8/5/2026) |
| Running Time: | 100 minutes |
| Cast, crew, or production detail: | Posthumous Release |
| Film festival: | Sundance Film Festival 2026 |
| Geographical setting: | Harlem, New York, New York City |
| Subgenre: | Social and Cultural Documentary |
| Time period setting: | 1970s, Renaissance |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production/Financing Companies: | The Cromwell Harbor Foundation, Ford Foundation, Just Films, The Andrew W. Mellon Foundation |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Oct 16, 2026 | - | $65,073 | 2 | $32,537 | $65,073 | 1 | |
| Oct 23, 2026 | - | $50,808 | -22% | 3 | $16,936 | $157,894 | 2 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Oct 16, 2026 | - | $22,740 | 2 | $11,370 | $22,740 | 1 | ||
| Oct 17, 2026 | - | $23,567 | +4% | 2 | $11,784 | $46,307 | 2 | |
| Oct 18, 2026 | - | $18,766 | -20% | 2 | $9,383 | $65,073 | 3 | |
| Oct 19, 2026 | - | $10,258 | -45% | 2 | $5,129 | $75,331 | 4 | |
| Oct 20, 2026 | - | $8,397 | -18% | 2 | $4,199 | $83,728 | 5 | |
| Oct 21, 2026 | - | $11,966 | +43% | 2 | $5,983 | $95,694 | 6 | |
| Oct 22, 2026 | - | $11,392 | -5% | 2 | $5,696 | $107,086 | 7 | |
| Oct 23, 2026 | - | $15,211 | +34% | -33% | 3 | $5,070 | $122,297 | 8 |
| Oct 24, 2026 | - | $20,000 | +31% | -15% | 3 | $6,667 | $142,297 | 9 |
| Oct 25, 2026 | - | $15,597 | -22% | -17% | 3 | $5,199 | $157,894 | 10 |
| Oct 26, 2026 | - | $6,336 | -59% | -38% | 3 | $2,112 | $164,230 | 11 |
| Oct 27, 2026 | - | $5,711 | -10% | -32% | 3 | $1,904 | $169,941 | 12 |
| Oct 28, 2026 | - | $5,953 | +4% | -50% | 3 | $1,984 | $175,894 | 13 |
| Oct 29, 2026 | - | $6,148 | +3% | -46% | 3 | $2,049 | $182,042 | 14 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Oct 16, 2026 | 29 | $107,086 | 2 | $53,543 | $107,086 | 1 | |
| Oct 23, 2026 | 29 | $74,956 | -30% | 3 | $24,985 | $182,042 | 2 |
Production and Technical Credits
| William Greaves | Director | |
| David Greaves | Director | |
| Liani Greaves | Director | |
| Anne de Mare | Producer | |
| Liani Greaves | Producer | |
| Lynn True | Editor | |
| Anne de Mare | Editor | |
| David Greaves | Cinematographer | |
| Tamar-Kali | Composer |
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
A decade after his death, one of the most significant and compelling filmmakers of the past century has one last trick up his sleeve: a trove of never-before-seen footage that he believed to be the most important he ever filmed. On a summer evening in 1972, a pivotal generation of Harlem Renaissance artists and intellectuals gathered at Duke Ellington’s townhouse. For over three hours, this extraordinary group - many of whom had not seen each other in fifty years - reminisced, critiqued, argued, laughed, and drank while wrestling with their place in a rapidly shifting cultural landscape.
Metrics
| Opening Weekend: | $65,073 (35.7% of total gross) |
| Legs: | 2.80 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 2 opening theaters/3 max. theaters, 1.7 weeks average run per theater |
| Infl. Adj. Dom. BO | $182,042 |
Movie Details
| Domestic Releases: | October 16th, 2026 (Limited) by Neon |
| MPA Rating: | PG-13 for some disturbing images, strong racial language, smoking, and brief partial nudity. (Rating bulletin 2948 (cert #56129), 8/5/2026) |
| Running Time: | 100 minutes |
| Cast, crew, or production detail: | Posthumous Release |
| Film festival: | Sundance Film Festival 2026 |
| Geographical setting: | Harlem, New York, New York City |
| Subgenre: | Social and Cultural Documentary |
| Time period setting: | 1970s, Renaissance |
| Source: | Based on Real Life Events |
| Genre: | Documentary |
| Production Method: | Live Action |
| Creative Type: | Factual |
| Production/Financing Companies: | The Cromwell Harbor Foundation, Ford Foundation, Just Films, The Andrew W. Mellon Foundation |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Oct 16, 2026 | - | $65,073 | 2 | $32,537 | $65,073 | 1 | |
| Oct 23, 2026 | - | $50,808 | -22% | 3 | $16,936 | $157,894 | 2 |
Daily Box Office Performance
| Date | Rank | Gross | %YD | %LW | Theaters | Per Theater | Total Gross | Days |
|---|---|---|---|---|---|---|---|---|
| Oct 16, 2026 | - | $22,740 | 2 | $11,370 | $22,740 | 1 | ||
| Oct 17, 2026 | - | $23,567 | +4% | 2 | $11,784 | $46,307 | 2 | |
| Oct 18, 2026 | - | $18,766 | -20% | 2 | $9,383 | $65,073 | 3 | |
| Oct 19, 2026 | - | $10,258 | -45% | 2 | $5,129 | $75,331 | 4 | |
| Oct 20, 2026 | - | $8,397 | -18% | 2 | $4,199 | $83,728 | 5 | |
| Oct 21, 2026 | - | $11,966 | +43% | 2 | $5,983 | $95,694 | 6 | |
| Oct 22, 2026 | - | $11,392 | -5% | 2 | $5,696 | $107,086 | 7 | |
| Oct 23, 2026 | - | $15,211 | +34% | -33% | 3 | $5,070 | $122,297 | 8 |
| Oct 24, 2026 | - | $20,000 | +31% | -15% | 3 | $6,667 | $142,297 | 9 |
| Oct 25, 2026 | - | $15,597 | -22% | -17% | 3 | $5,199 | $157,894 | 10 |
| Oct 26, 2026 | - | $6,336 | -59% | -38% | 3 | $2,112 | $164,230 | 11 |
| Oct 27, 2026 | - | $5,711 | -10% | -32% | 3 | $1,904 | $169,941 | 12 |
| Oct 28, 2026 | - | $5,953 | +4% | -50% | 3 | $1,984 | $175,894 | 13 |
| Oct 29, 2026 | - | $6,148 | +3% | -46% | 3 | $2,049 | $182,042 | 14 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Oct 16, 2026 | 29 | $107,086 | 2 | $53,543 | $107,086 | 1 | |
| Oct 23, 2026 | 29 | $74,956 | -30% | 3 | $24,985 | $182,042 | 2 |
Production and Technical Credits
| William Greaves | Director | |
| David Greaves | Director | |
| Liani Greaves | Director | |
| Anne de Mare | Producer | |
| Liani Greaves | Producer | |
| Lynn True | Editor | |
| Anne de Mare | Editor | |
| David Greaves | Cinematographer | |
| Tamar-Kali | Composer |
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.