Tenet (2020)
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| Theatrical Performance | ||
| Domestic Box Office | $59,473,550 | Details |
| International Box Office | $306,800,000 | Details |
| Worldwide Box Office | $366,273,550 | |
| Domestic Physical Disc Sales | ||
| DVD Sales (estimated) | $6,644,903 | |
| Blu-ray Sales (estimated) | $21,646,829 | |
| Total | $28,291,732 | |
| OpusData ID: 394170100 More info... | ||
| Further financial details... | ||
Synopsis
Armed with only one word—Tenet—and fighting for the survival of the entire world, the Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time. Not time travel. Inversion.
Metrics
| Opening Weekend: | $20,001,852 (33.6% of total gross) |
| Legs: | 2.97 (domestic box office/biggest weekend) |
| Domestic Share: | 16.2% (domestic box office/worldwide) |
| Production Budget: | $205,000,000 (worldwide box office is 1.8 times production budget) |
| Theater counts: | 2,810 opening theaters/2,930 max. theaters, 9.8 weeks average run per theater |
| Infl. Adj. Dom. BO | $77,187,866 |
Movie Details
| Domestic Releases: | September 3rd, 2020 (Wide) by Warner Bros. September 3rd, 2020 (IMAX) by Warner Bros. February 23rd, 2024 (Wide) by Warner Bros. February 23rd, 2024 (IMAX) by Warner Bros. |
| International Releases: | August 26th, 2020 (Wide) (Germany)
August 26th, 2020 (Wide) (South Korea) August 26th, 2020 (Wide) (Poland) August 26th, 2020 (Wide) (Italy) August 26th, 2020 (Wide) (Turkey) ... Show all releases |
| Video Release: | December 15th, 2020 by Warner Home Video |
| MPA Rating: | PG-13 for intense sequences of violence and action, some suggestive references and brief strong language. (Rating bulletin 2635 (Cert #52735), 6/24/2020) |
| Running Time: | 110 minutes |
| Cast, crew, or production detail: | Unnamed Character |
| Film format: | IMAX: DMR |
| Plot point: | C.I.A., False Identity, Rescue, Surprise Twist, Terrorism, Time Travel, Tortured for Information |
| Release detail: | Disrupted by 2020 COVID-19 pandemic |
| Subgenre: | Action Thriller |
| Source: | Original Screenplay |
| Genre: | Action |
| Production Method: | Live Action |
| Creative Type: | Science Fiction |
| Production/Financing Companies: | Syncopy, Warner Bros. |
| Production Countries: | United States, United Kingdom |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Sep 4, 2020 | 1 | $20,001,852 | 2,810 | $7,118 | $20,001,852 | 1 | |
| Sep 11, 2020 | 1 | $6,603,467 | -67% | 2,910 | $2,269 | $29,096,604 | 2 |
| Sep 18, 2020 | 1 | $4,568,470 | -31% | 2,930 | $1,559 | $36,101,944 | 3 |
| Sep 25, 2020 | 1 | $3,348,340 | -27% | 2,850 | $1,175 | $41,201,766 | 4 |
| Oct 2, 2020 | 1 | $2,664,202 | -20% | 2,722 | $979 | $45,147,719 | 5 |
| Oct 9, 2020 | 2 | $2,100,380 | -21% | 2,215 | $948 | $48,303,887 | 6 |
| Oct 16, 2020 | 3 | $1,544,097 | -26% | 2,001 | $772 | $50,651,524 | 7 |
| Oct 23, 2020 | 4 | $1,274,790 | -17% | 1,801 | $708 | $52,462,745 | 8 |
| Oct 30, 2020 | 4 | $912,468 | -28% | 1,601 | $570 | $53,826,751 | 9 |
| Nov 6, 2020 | 5 | $929,760 | +2% | 1,601 | $581 | $55,164,083 | 10 |
| Nov 13, 2020 | 6 | $744,654 | -20% | 1,223 | $609 | $56,318,471 | 11 |
| Nov 20, 2020 | 8 | $355,733 | -52% | 864 | $412 | $56,872,150 | 12 |
| Nov 27, 2020 | - | $276,201 | -22% | 656 | $421 | $57,345,886 | 13 |
| Dec 4, 2020 | - | $167,433 | -39% | 532 | $315 | $57,593,091 | 14 |
| Dec 11, 2020 | - | $130,480 | -22% | 478 | $273 | $57,792,044 | 15 |
| Dec 18, 2020 | 13 | $85,760 | -34% | 340 | $252 | $57,935,986 | 16 |
| Dec 25, 2020 | - | $20,909 | -76% | 70 | $299 | $58,021,023 | 17 |
| Jan 1, 2021 | - | $27,275 | +30% | 70 | $390 | $58,071,440 | 18 |
| Jan 8, 2021 | - | $25,973 | -5% | 101 | $257 | $58,107,658 | 19 |
| Jan 15, 2021 | - | $12,538 | -52% | 83 | $151 | $58,130,644 | 20 |
| Jan 22, 2021 | - | $14,340 | +14% | 90 | $159 | $58,150,150 | 21 |
| Jan 29, 2021 | - | $8,250 | -42% | 85 | $97 | $58,163,044 | 22 |
| Feb 5, 2021 | - | $7,053 | -15% | 80 | $88 | $58,172,004 | 23 |
| Feb 12, 2021 | - | $6,513 | -8% | 65 | $100 | $58,180,482 | 24 |
| Feb 19, 2021 | - | $6,220 | -4% | 60 | $104 | $58,189,350 | 25 |
| Feb 26, 2021 | - | $4,114 | -34% | 50 | $82 | $58,195,065 | 26 |
| Mar 5, 2021 | - | $16,306 | +296% | 50 | $326 | $58,212,247 | 27 |
| Mar 12, 2021 | - | $23,561 | +44% | 45 | $524 | $58,242,138 | 28 |
| Mar 19, 2021 | - | $71,629 | +204% | 65 | $1,102 | $58,327,692 | 29 |
| Mar 26, 2021 | - | $42,178 | -41% | 65 | $649 | $58,408,334 | 30 |
| Apr 2, 2021 | - | $23,467 | -44% | 45 | $521 | $58,448,918 | 31 |
| Apr 9, 2021 | - | $2,443 | -90% | 45 | $54 | $58,454,822 | 32 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Sep 4, 2020 | 1 | $22,493,137 | 2,810 | $8,005 | $22,493,137 | 2 | |
| Sep 11, 2020 | 1 | $9,040,337 | -60% | 2,910 | $3,107 | $31,533,474 | 3 |
| Sep 18, 2020 | 1 | $6,319,952 | -30% | 2,930 | $2,157 | $37,853,426 | 4 |
| Sep 25, 2020 | 1 | $4,630,091 | -27% | 2,850 | $1,625 | $42,483,517 | 5 |
| Oct 2, 2020 | 1 | $3,719,990 | -20% | 2,722 | $1,367 | $46,203,507 | 6 |
| Oct 9, 2020 | 2 | $2,903,920 | -22% | 2,215 | $1,311 | $49,107,427 | 7 |
| Oct 16, 2020 | 3 | $2,080,528 | -28% | 2,001 | $1,040 | $51,187,955 | 8 |
| Oct 23, 2020 | 3 | $1,726,328 | -17% | 1,801 | $959 | $52,914,283 | 9 |
| Oct 30, 2020 | 4 | $1,320,040 | -24% | 1,601 | $825 | $54,234,323 | 10 |
| Nov 6, 2020 | 5 | $1,339,494 | +1% | 1,412 | $949 | $55,573,817 | 11 |
| Nov 13, 2020 | 6 | $942,600 | -30% | 1,223 | $771 | $56,516,417 | 12 |
| Nov 20, 2020 | 7 | $553,268 | -41% | 864 | $640 | $57,069,685 | 13 |
| Nov 27, 2020 | - | $355,973 | -36% | 656 | $543 | $57,425,658 | 14 |
| Dec 4, 2020 | 9 | $235,906 | -34% | 532 | $443 | $57,661,564 | 15 |
| Dec 11, 2020 | - | $188,662 | -20% | 478 | $395 | $57,850,226 | 16 |
| Dec 18, 2020 | - | $149,888 | -21% | 340 | $441 | $58,000,114 | 17 |
| Dec 25, 2020 | - | $44,051 | -71% | 116 | $380 | $58,044,165 | 18 |
| Jan 1, 2021 | - | $37,520 | -15% | 120 | $313 | $58,081,685 | 19 |
| Jan 8, 2021 | - | $36,421 | -3% | 101 | $361 | $58,118,106 | 20 |
| Jan 15, 2021 | - | $17,704 | -51% | 83 | $213 | $58,135,810 | 21 |
| Jan 22, 2021 | - | $18,984 | +7% | 90 | $211 | $58,154,794 | 22 |
| Jan 29, 2021 | - | $10,157 | -46% | 85 | $119 | $58,164,951 | 23 |
| Feb 5, 2021 | - | $9,018 | -11% | 80 | $113 | $58,173,969 | 24 |
| Feb 12, 2021 | - | $9,161 | +2% | 65 | $141 | $58,183,130 | 25 |
| Feb 19, 2021 | - | $7,821 | -15% | 60 | $130 | $58,190,951 | 26 |
| Feb 26, 2021 | - | $4,990 | -36% | 50 | $100 | $58,195,941 | 27 |
| Mar 5, 2021 | - | $22,636 | +354% | 50 | $453 | $58,218,577 | 28 |
| Mar 12, 2021 | - | $37,486 | +66% | 45 | $833 | $58,256,063 | 29 |
| Mar 19, 2021 | - | $110,093 | +194% | 65 | $1,694 | $58,366,156 | 30 |
| Mar 26, 2021 | - | $59,295 | -46% | 65 | $912 | $58,425,451 | 31 |
| Apr 2, 2021 | - | $26,928 | -55% | 45 | $598 | $58,452,379 | 32 |
| Apr 9, 2021 | - | $4,245 | -84% | 45 | $94 | $58,456,624 | 33 |
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 | 8/27/2020 | $1,829,463 | 760 | 1 | 5,158 | $11,239,045 | 7/6/2026 | |||
| Brazil | 10/30/2020 | $266,000 | 1,000 | 1,000 | 2,654 | $1,164,483 | 12/30/2020 | |||
| China | 9/3/2020 | $29,570,000 | 109,163 | 109,163 | 194,103 | $66,600,000 | 10/19/2022 | |||
| Czech Republic | 8/28/2020 | $327,197 | 136 | 144 | 633 | $1,218,792 | 10/20/2022 | |||
| Estonia | 8/28/2020 | $446,000 | 0 | 0 | 0 | $1,200,000 | 10/19/2022 | |||
| France | 8/28/2020 | $6,800,000 | 1,070 | 1,070 | 7,018 | $22,900,000 | 10/19/2022 | |||
| Germany | 8/26/2020 | $3,810,765 | 792 | 799 | 6,583 | $19,960,832 | 5/25/2021 | |||
| Hong Kong | 9/11/2020 | $1,900,000 | 160 | 160 | 290 | $7,081,772 | 11/20/2020 | |||
| India | 12/4/2020 | $700,000 | 0 | 922 | 922 | $1,300,000 | 12/14/2020 | |||
| Italy | 8/26/2020 | $1,870,300 | 0 | 3 | 5 | $8,034,640 | 10/19/2022 | |||
| Japan | 9/18/2020 | $4,300,000 | 488 | 488 | 3,698 | $25,900,000 | 10/19/2022 | |||
| Lithuania | 8/28/2020 | $127,184 | 16 | 17 | 107 | $406,674 | 11/11/2020 | |||
| Mexico | 9/16/2020 | $601,461 | 0 | 0 | 0 | $2,411,168 | 4/4/2026 | |||
| Netherlands | 8/28/2020 | $1,874,099 | 160 | 992 | 2,772 | $9,200,000 | 10/19/2022 | |||
| New Zealand | 8/27/2020 | $249,910 | 152 | 210 | 1,111 | $1,683,854 | 4/4/2026 | |||
| Poland | 8/26/2020 | $307,322 | 675 | 675 | 4,725 | $1,639,705 | 10/19/2022 | |||
| Portugal | 8/27/2020 | $284,515 | 148 | 148 | 764 | $1,081,504 | 12/10/2020 | |||
| Romania | 9/18/2020 | $135,309 | 210 | 210 | 731 | $396,355 | 10/20/2022 | |||
| Russia (CIS) | 9/4/2020 | $2,652,857 | 1,217 | 1,489 | 11,094 | $12,700,000 | 10/19/2022 | |||
| Saudi Arabia | 8/28/2020 | $1,500,000 | 97 | 97 | 97 | $4,800,000 | 10/19/2022 | |||
| Slovakia | 8/28/2020 | $138,577 | 60 | 60 | 275 | $481,237 | 7/1/2021 | |||
| South Korea | 8/26/2020 | $2,888,779 | 2,216 | 2,216 | 9,081 | $12,988,268 | 4/4/2026 | |||
| Spain | 8/28/2020 | $1,787,582 | 347 | 347 | 3,058 | $9,000,000 | 10/19/2022 | |||
| Taiwan | 8/27/2020 | $0 | 0 | 0 | 0 | $11,900,000 | 10/19/2022 | |||
| Turkey | 8/26/2020 | $100,869 | 652 | 652 | 3,010 | $177,758 | 4/4/2026 | |||
| United Kingdom | 8/26/2020 | $7,118,002 | 611 | 616 | 4,842 | $23,420,908 | 5/21/2026 | |||
| Rest of World | $47,913,005 | |||||||||
| International Total | $306,800,000 | 7/6/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Lead Ensemble Member
| John David Washington | “The Protagonist” | |
| Robert Pattinson | Neil | |
| Elizabeth Debicki | Kat | |
| Michael Caine | Crosby | |
| Kenneth Branagh | Sator |
Supporting
| Juhan Ulfsak | Passenger | |
| Jefferson Hall | Well-Dressed Man | |
| Ivo Uukkivi | Uniformed Official | |
| Andrew Howard | Driver | |
| Rich Ceraulo Ko | SWAT / Target | |
| Jonathan Camp | SWAT 2 | |
| Wes Chatham | SWAT 3 | |
| Sander Rebane | Ukranian SWAT | |
| Martin Donovan | Fay | |
| Clémence Poésy | Barbara | |
| Josh Stewart | Male Voice | |
| Dimple Kapadia | Priya | |
| Denzil Smith | Sanjay | |
| Jeremy Theobald | Steward | |
| Tom Nolan | Shipley’s Representative | |
| Laurie Shepherd | Max | |
| Yuri Kolokolnikov | Volkov | |
| Marcel Sabat | Gaunt Russian | |
| Julia-Maria Arnolds | Nanny | |
| Jack Cutmore-Scott | Klaus | |
| Himesh Patel | Mahir | |
| Anthony Molinari | Rohan | |
| Adam Cropper | Young Sator | |
| Tony Christian | Gold Bar Thief | |
| Jan Uuspõld | Blue Co-Pilot | |
| Kaspar Velberg | Police Operator | |
| Sergo Vares | Police Supervisor | |
| Rain Tolk | Policeman Passenger | |
| Aaron Taylor-Johnson | Ives | |
| Fiona Dourif | Wheeler | |
| Henrik Kalmet | Medic | |
| Sean Avery | Red Soldier 1 | |
| John Orantes | Red Soldier 2 | |
| Seb Carrington | Junior Crew Member | |
| Matthew Marsden | Blue Team Soldier | |
| Alex Wexo | Military Veteran |
Production and Technical Credits
| Christopher Nolan | Director | |
| Christopher Nolan | Screenwriter | |
| Christopher Nolan | Producer | |
| Emma Thomas | Producer | |
| Thomas Hayslip | Executive Producer | |
| Hoyte Van Hoytema | Director of Photography | |
| Nathan Crowley | Production Designer | |
| Jennifer Lame | Editor | |
| Jeffrey Kurland | Costume Designer | |
| Ludwig Göransson | Composer | |
| Andrew Jackson | Visual Effects Supervisor | |
| Scott R. Fisher | Special Effects Supervisor | |
| John Papsidera | Casting Director | |
| George Cottle | Stunt Coordinator | |
| Thomas Hayslip | Unit Production Manager | |
| Susan Towner | Unit Production Manager | |
| Nilo Otero | First Assistant Director | |
| Eric Richard Lasko | Second Assistant Director | |
| Mike Chambers | Visual Effects Producer | |
| John Lee | Associate Editor | |
| Helen Medrano | Associate Producer | |
| Alex Gibson | Supervising Music Editor | |
| Tina Anderson | Post-Production Supervisor | |
| Richard King | Sound Designer | |
| Richard King | Supervising Sound Editor | |
| Gary A. Rizzo | Re-recording Mixer | |
| Kevin O'Connell | Re-recording Mixer | |
| Janice Polley | Supervising Location Manager | |
| Gretel Twombly | Production Supervisor | |
| Rory Bruen | Supervising Art Director | |
| Jenne Lee | Supervising Art Director | |
| Eggert Ketilsson | Supervising Art Director | |
| Toby Britton | Supervising Art Director | |
| Steve Gehrke | Script Supervisor | |
| Liam Georgensen | Art Director | |
| Tiiu-Ann Pello | Art Director | |
| Triin Valvas | Art Director | |
| David Packard | Art Director | |
| Ben Nowicki | Art Director | |
| Erik Osusky | Art Director | |
| Justin Miller | Art Director | |
| Stephen Christensen | Art Director | |
| Anthony D. Parrillo | Art Director | |
| Luis G. Hoyos | Set Designer | |
| Kil Won Yu | Set Designer | |
| Kathy Lucas | Set Decorator | |
| Willie D. Burton | Sound Mixer | |
| Luisa Abel | Make up | |
| Audrey Doyle | Make up | |
| Camille Friend | Hairstylist | |
| Derrick Spruill | Hairstylist | |
| John Casey | Costume Supervisor | |
| Klaus grosse Darrelmann | Location Manager | |
| Julie Hannum | Location Manager | |
| Andy Williams | Special Effects Supervisor | |
| Egle Sveikauskyte | Special Effects Coordinator | |
| Eric A. Lewy | First Assistant Editor | |
| Laura Rindner | First Assistant Editor | |
| Scott Wesley Ross | Assistant Editor | |
| William Fletcher | Assistant Editor | |
| Andrew Blustain | Assistant Editor | |
| Vaune Kirby | Assistant Editor | |
| Pearce Roemer | Assistant Editor | |
| Russell Farmarco | Dialogue Editor | |
| Michael Mitchell | Sound Effects Editor | |
| Randy Torres | Sound Effects Editor | |
| Mark Larry | Sound Effects Editor | |
| Joseph Fraioli | Sound Effects Editor | |
| Angela Ang | Foley Editor | |
| Scott Curtis | Foley Mixer | |
| Randy Singer | Foley Mixer | |
| Darrin Mann | Foley Mixer | |
| Nicholas Fitzgerald | Music Editor | |
| Chris Fogel | Score Mixer |
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
Armed with only one word—Tenet—and fighting for the survival of the entire world, the Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time. Not time travel. Inversion.
Metrics
| Opening Weekend: | $20,001,852 (33.6% of total gross) |
| Legs: | 2.97 (domestic box office/biggest weekend) |
| Domestic Share: | 16.2% (domestic box office/worldwide) |
| Production Budget: | $205,000,000 (worldwide box office is 1.8 times production budget) |
| Theater counts: | 2,810 opening theaters/2,930 max. theaters, 9.8 weeks average run per theater |
| Infl. Adj. Dom. BO | $77,187,866 |
Movie Details
| Domestic Releases: | September 3rd, 2020 (Wide) by Warner Bros. September 3rd, 2020 (IMAX) by Warner Bros. February 23rd, 2024 (Wide) by Warner Bros. February 23rd, 2024 (IMAX) by Warner Bros. |
| International Releases: | August 26th, 2020 (Wide) (Germany)
August 26th, 2020 (Wide) (South Korea) August 26th, 2020 (Wide) (Poland) August 26th, 2020 (Wide) (Italy) August 26th, 2020 (Wide) (Turkey) ... Show all releases |
| Video Release: | December 15th, 2020 by Warner Home Video |
| MPA Rating: | PG-13 for intense sequences of violence and action, some suggestive references and brief strong language. (Rating bulletin 2635 (Cert #52735), 6/24/2020) |
| Running Time: | 110 minutes |
| Cast, crew, or production detail: | Unnamed Character |
| Film format: | IMAX: DMR |
| Plot point: | C.I.A., False Identity, Rescue, Surprise Twist, Terrorism, Time Travel, Tortured for Information |
| Release detail: | Disrupted by 2020 COVID-19 pandemic |
| Subgenre: | Action Thriller |
| Source: | Original Screenplay |
| Genre: | Action |
| Production Method: | Live Action |
| Creative Type: | Science Fiction |
| Production/Financing Companies: | Syncopy, Warner Bros. |
| Production Countries: | United States, United Kingdom |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Sep 4, 2020 | 1 | $20,001,852 | 2,810 | $7,118 | $20,001,852 | 1 | |
| Sep 11, 2020 | 1 | $6,603,467 | -67% | 2,910 | $2,269 | $29,096,604 | 2 |
| Sep 18, 2020 | 1 | $4,568,470 | -31% | 2,930 | $1,559 | $36,101,944 | 3 |
| Sep 25, 2020 | 1 | $3,348,340 | -27% | 2,850 | $1,175 | $41,201,766 | 4 |
| Oct 2, 2020 | 1 | $2,664,202 | -20% | 2,722 | $979 | $45,147,719 | 5 |
| Oct 9, 2020 | 2 | $2,100,380 | -21% | 2,215 | $948 | $48,303,887 | 6 |
| Oct 16, 2020 | 3 | $1,544,097 | -26% | 2,001 | $772 | $50,651,524 | 7 |
| Oct 23, 2020 | 4 | $1,274,790 | -17% | 1,801 | $708 | $52,462,745 | 8 |
| Oct 30, 2020 | 4 | $912,468 | -28% | 1,601 | $570 | $53,826,751 | 9 |
| Nov 6, 2020 | 5 | $929,760 | +2% | 1,601 | $581 | $55,164,083 | 10 |
| Nov 13, 2020 | 6 | $744,654 | -20% | 1,223 | $609 | $56,318,471 | 11 |
| Nov 20, 2020 | 8 | $355,733 | -52% | 864 | $412 | $56,872,150 | 12 |
| Nov 27, 2020 | - | $276,201 | -22% | 656 | $421 | $57,345,886 | 13 |
| Dec 4, 2020 | - | $167,433 | -39% | 532 | $315 | $57,593,091 | 14 |
| Dec 11, 2020 | - | $130,480 | -22% | 478 | $273 | $57,792,044 | 15 |
| Dec 18, 2020 | 13 | $85,760 | -34% | 340 | $252 | $57,935,986 | 16 |
| Dec 25, 2020 | - | $20,909 | -76% | 70 | $299 | $58,021,023 | 17 |
| Jan 1, 2021 | - | $27,275 | +30% | 70 | $390 | $58,071,440 | 18 |
| Jan 8, 2021 | - | $25,973 | -5% | 101 | $257 | $58,107,658 | 19 |
| Jan 15, 2021 | - | $12,538 | -52% | 83 | $151 | $58,130,644 | 20 |
| Jan 22, 2021 | - | $14,340 | +14% | 90 | $159 | $58,150,150 | 21 |
| Jan 29, 2021 | - | $8,250 | -42% | 85 | $97 | $58,163,044 | 22 |
| Feb 5, 2021 | - | $7,053 | -15% | 80 | $88 | $58,172,004 | 23 |
| Feb 12, 2021 | - | $6,513 | -8% | 65 | $100 | $58,180,482 | 24 |
| Feb 19, 2021 | - | $6,220 | -4% | 60 | $104 | $58,189,350 | 25 |
| Feb 26, 2021 | - | $4,114 | -34% | 50 | $82 | $58,195,065 | 26 |
| Mar 5, 2021 | - | $16,306 | +296% | 50 | $326 | $58,212,247 | 27 |
| Mar 12, 2021 | - | $23,561 | +44% | 45 | $524 | $58,242,138 | 28 |
| Mar 19, 2021 | - | $71,629 | +204% | 65 | $1,102 | $58,327,692 | 29 |
| Mar 26, 2021 | - | $42,178 | -41% | 65 | $649 | $58,408,334 | 30 |
| Apr 2, 2021 | - | $23,467 | -44% | 45 | $521 | $58,448,918 | 31 |
| Apr 9, 2021 | - | $2,443 | -90% | 45 | $54 | $58,454,822 | 32 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Sep 4, 2020 | 1 | $22,493,137 | 2,810 | $8,005 | $22,493,137 | 2 | |
| Sep 11, 2020 | 1 | $9,040,337 | -60% | 2,910 | $3,107 | $31,533,474 | 3 |
| Sep 18, 2020 | 1 | $6,319,952 | -30% | 2,930 | $2,157 | $37,853,426 | 4 |
| Sep 25, 2020 | 1 | $4,630,091 | -27% | 2,850 | $1,625 | $42,483,517 | 5 |
| Oct 2, 2020 | 1 | $3,719,990 | -20% | 2,722 | $1,367 | $46,203,507 | 6 |
| Oct 9, 2020 | 2 | $2,903,920 | -22% | 2,215 | $1,311 | $49,107,427 | 7 |
| Oct 16, 2020 | 3 | $2,080,528 | -28% | 2,001 | $1,040 | $51,187,955 | 8 |
| Oct 23, 2020 | 3 | $1,726,328 | -17% | 1,801 | $959 | $52,914,283 | 9 |
| Oct 30, 2020 | 4 | $1,320,040 | -24% | 1,601 | $825 | $54,234,323 | 10 |
| Nov 6, 2020 | 5 | $1,339,494 | +1% | 1,412 | $949 | $55,573,817 | 11 |
| Nov 13, 2020 | 6 | $942,600 | -30% | 1,223 | $771 | $56,516,417 | 12 |
| Nov 20, 2020 | 7 | $553,268 | -41% | 864 | $640 | $57,069,685 | 13 |
| Nov 27, 2020 | - | $355,973 | -36% | 656 | $543 | $57,425,658 | 14 |
| Dec 4, 2020 | 9 | $235,906 | -34% | 532 | $443 | $57,661,564 | 15 |
| Dec 11, 2020 | - | $188,662 | -20% | 478 | $395 | $57,850,226 | 16 |
| Dec 18, 2020 | - | $149,888 | -21% | 340 | $441 | $58,000,114 | 17 |
| Dec 25, 2020 | - | $44,051 | -71% | 116 | $380 | $58,044,165 | 18 |
| Jan 1, 2021 | - | $37,520 | -15% | 120 | $313 | $58,081,685 | 19 |
| Jan 8, 2021 | - | $36,421 | -3% | 101 | $361 | $58,118,106 | 20 |
| Jan 15, 2021 | - | $17,704 | -51% | 83 | $213 | $58,135,810 | 21 |
| Jan 22, 2021 | - | $18,984 | +7% | 90 | $211 | $58,154,794 | 22 |
| Jan 29, 2021 | - | $10,157 | -46% | 85 | $119 | $58,164,951 | 23 |
| Feb 5, 2021 | - | $9,018 | -11% | 80 | $113 | $58,173,969 | 24 |
| Feb 12, 2021 | - | $9,161 | +2% | 65 | $141 | $58,183,130 | 25 |
| Feb 19, 2021 | - | $7,821 | -15% | 60 | $130 | $58,190,951 | 26 |
| Feb 26, 2021 | - | $4,990 | -36% | 50 | $100 | $58,195,941 | 27 |
| Mar 5, 2021 | - | $22,636 | +354% | 50 | $453 | $58,218,577 | 28 |
| Mar 12, 2021 | - | $37,486 | +66% | 45 | $833 | $58,256,063 | 29 |
| Mar 19, 2021 | - | $110,093 | +194% | 65 | $1,694 | $58,366,156 | 30 |
| Mar 26, 2021 | - | $59,295 | -46% | 65 | $912 | $58,425,451 | 31 |
| Apr 2, 2021 | - | $26,928 | -55% | 45 | $598 | $58,452,379 | 32 |
| Apr 9, 2021 | - | $4,245 | -84% | 45 | $94 | $58,456,624 | 33 |
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 | 8/27/2020 | $1,829,463 | 760 | 1 | 5,158 | $11,239,045 | 7/6/2026 | |||
| Brazil | 10/30/2020 | $266,000 | 1,000 | 1,000 | 2,654 | $1,164,483 | 12/30/2020 | |||
| China | 9/3/2020 | $29,570,000 | 109,163 | 109,163 | 194,103 | $66,600,000 | 10/19/2022 | |||
| Czech Republic | 8/28/2020 | $327,197 | 136 | 144 | 633 | $1,218,792 | 10/20/2022 | |||
| Estonia | 8/28/2020 | $446,000 | 0 | 0 | 0 | $1,200,000 | 10/19/2022 | |||
| France | 8/28/2020 | $6,800,000 | 1,070 | 1,070 | 7,018 | $22,900,000 | 10/19/2022 | |||
| Germany | 8/26/2020 | $3,810,765 | 792 | 799 | 6,583 | $19,960,832 | 5/25/2021 | |||
| Hong Kong | 9/11/2020 | $1,900,000 | 160 | 160 | 290 | $7,081,772 | 11/20/2020 | |||
| India | 12/4/2020 | $700,000 | 0 | 922 | 922 | $1,300,000 | 12/14/2020 | |||
| Italy | 8/26/2020 | $1,870,300 | 0 | 3 | 5 | $8,034,640 | 10/19/2022 | |||
| Japan | 9/18/2020 | $4,300,000 | 488 | 488 | 3,698 | $25,900,000 | 10/19/2022 | |||
| Lithuania | 8/28/2020 | $127,184 | 16 | 17 | 107 | $406,674 | 11/11/2020 | |||
| Mexico | 9/16/2020 | $601,461 | 0 | 0 | 0 | $2,411,168 | 4/4/2026 | |||
| Netherlands | 8/28/2020 | $1,874,099 | 160 | 992 | 2,772 | $9,200,000 | 10/19/2022 | |||
| New Zealand | 8/27/2020 | $249,910 | 152 | 210 | 1,111 | $1,683,854 | 4/4/2026 | |||
| Poland | 8/26/2020 | $307,322 | 675 | 675 | 4,725 | $1,639,705 | 10/19/2022 | |||
| Portugal | 8/27/2020 | $284,515 | 148 | 148 | 764 | $1,081,504 | 12/10/2020 | |||
| Romania | 9/18/2020 | $135,309 | 210 | 210 | 731 | $396,355 | 10/20/2022 | |||
| Russia (CIS) | 9/4/2020 | $2,652,857 | 1,217 | 1,489 | 11,094 | $12,700,000 | 10/19/2022 | |||
| Saudi Arabia | 8/28/2020 | $1,500,000 | 97 | 97 | 97 | $4,800,000 | 10/19/2022 | |||
| Slovakia | 8/28/2020 | $138,577 | 60 | 60 | 275 | $481,237 | 7/1/2021 | |||
| South Korea | 8/26/2020 | $2,888,779 | 2,216 | 2,216 | 9,081 | $12,988,268 | 4/4/2026 | |||
| Spain | 8/28/2020 | $1,787,582 | 347 | 347 | 3,058 | $9,000,000 | 10/19/2022 | |||
| Taiwan | 8/27/2020 | $0 | 0 | 0 | 0 | $11,900,000 | 10/19/2022 | |||
| Turkey | 8/26/2020 | $100,869 | 652 | 652 | 3,010 | $177,758 | 4/4/2026 | |||
| United Kingdom | 8/26/2020 | $7,118,002 | 611 | 616 | 4,842 | $23,420,908 | 5/21/2026 | |||
| Rest of World | $47,913,005 | |||||||||
| International Total | $306,800,000 | 7/6/2026 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Lead Ensemble Member
| John David Washington | “The Protagonist” | |
| Robert Pattinson | Neil | |
| Elizabeth Debicki | Kat | |
| Michael Caine | Crosby | |
| Kenneth Branagh | Sator |
Supporting
| Juhan Ulfsak | Passenger | |
| Jefferson Hall | Well-Dressed Man | |
| Ivo Uukkivi | Uniformed Official | |
| Andrew Howard | Driver | |
| Rich Ceraulo Ko | SWAT / Target | |
| Jonathan Camp | SWAT 2 | |
| Wes Chatham | SWAT 3 | |
| Sander Rebane | Ukranian SWAT | |
| Martin Donovan | Fay | |
| Clémence Poésy | Barbara | |
| Josh Stewart | Male Voice | |
| Dimple Kapadia | Priya | |
| Denzil Smith | Sanjay | |
| Jeremy Theobald | Steward | |
| Tom Nolan | Shipley’s Representative | |
| Laurie Shepherd | Max | |
| Yuri Kolokolnikov | Volkov | |
| Marcel Sabat | Gaunt Russian | |
| Julia-Maria Arnolds | Nanny | |
| Jack Cutmore-Scott | Klaus | |
| Himesh Patel | Mahir | |
| Anthony Molinari | Rohan | |
| Adam Cropper | Young Sator | |
| Tony Christian | Gold Bar Thief | |
| Jan Uuspõld | Blue Co-Pilot | |
| Kaspar Velberg | Police Operator | |
| Sergo Vares | Police Supervisor | |
| Rain Tolk | Policeman Passenger | |
| Aaron Taylor-Johnson | Ives | |
| Fiona Dourif | Wheeler | |
| Henrik Kalmet | Medic | |
| Sean Avery | Red Soldier 1 | |
| John Orantes | Red Soldier 2 | |
| Seb Carrington | Junior Crew Member | |
| Matthew Marsden | Blue Team Soldier | |
| Alex Wexo | Military Veteran |
Production and Technical Credits
| Christopher Nolan | Director | |
| Christopher Nolan | Screenwriter | |
| Christopher Nolan | Producer | |
| Emma Thomas | Producer | |
| Thomas Hayslip | Executive Producer | |
| Hoyte Van Hoytema | Director of Photography | |
| Nathan Crowley | Production Designer | |
| Jennifer Lame | Editor | |
| Jeffrey Kurland | Costume Designer | |
| Ludwig Göransson | Composer | |
| Andrew Jackson | Visual Effects Supervisor | |
| Scott R. Fisher | Special Effects Supervisor | |
| John Papsidera | Casting Director | |
| George Cottle | Stunt Coordinator | |
| Thomas Hayslip | Unit Production Manager | |
| Susan Towner | Unit Production Manager | |
| Nilo Otero | First Assistant Director | |
| Eric Richard Lasko | Second Assistant Director | |
| Mike Chambers | Visual Effects Producer | |
| John Lee | Associate Editor | |
| Helen Medrano | Associate Producer | |
| Alex Gibson | Supervising Music Editor | |
| Tina Anderson | Post-Production Supervisor | |
| Richard King | Sound Designer | |
| Richard King | Supervising Sound Editor | |
| Gary A. Rizzo | Re-recording Mixer | |
| Kevin O'Connell | Re-recording Mixer | |
| Janice Polley | Supervising Location Manager | |
| Gretel Twombly | Production Supervisor | |
| Rory Bruen | Supervising Art Director | |
| Jenne Lee | Supervising Art Director | |
| Eggert Ketilsson | Supervising Art Director | |
| Toby Britton | Supervising Art Director | |
| Steve Gehrke | Script Supervisor | |
| Liam Georgensen | Art Director | |
| Tiiu-Ann Pello | Art Director | |
| Triin Valvas | Art Director | |
| David Packard | Art Director | |
| Ben Nowicki | Art Director | |
| Erik Osusky | Art Director | |
| Justin Miller | Art Director | |
| Stephen Christensen | Art Director | |
| Anthony D. Parrillo | Art Director | |
| Luis G. Hoyos | Set Designer | |
| Kil Won Yu | Set Designer | |
| Kathy Lucas | Set Decorator | |
| Willie D. Burton | Sound Mixer | |
| Luisa Abel | Make up | |
| Audrey Doyle | Make up | |
| Camille Friend | Hairstylist | |
| Derrick Spruill | Hairstylist | |
| John Casey | Costume Supervisor | |
| Klaus grosse Darrelmann | Location Manager | |
| Julie Hannum | Location Manager | |
| Andy Williams | Special Effects Supervisor | |
| Egle Sveikauskyte | Special Effects Coordinator | |
| Eric A. Lewy | First Assistant Editor | |
| Laura Rindner | First Assistant Editor | |
| Scott Wesley Ross | Assistant Editor | |
| William Fletcher | Assistant Editor | |
| Andrew Blustain | Assistant Editor | |
| Vaune Kirby | Assistant Editor | |
| Pearce Roemer | Assistant Editor | |
| Russell Farmarco | Dialogue Editor | |
| Michael Mitchell | Sound Effects Editor | |
| Randy Torres | Sound Effects Editor | |
| Mark Larry | Sound Effects Editor | |
| Joseph Fraioli | Sound Effects Editor | |
| Angela Ang | Foley Editor | |
| Scott Curtis | Foley Mixer | |
| Randy Singer | Foley Mixer | |
| Darrin Mann | Foley Mixer | |
| Nicholas Fitzgerald | Music Editor | |
| Chris Fogel | Score Mixer |
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.