Weekly box office: Kaamelott takes the crown

The continuation of the adventures of King Arthur ends a great first week and offers, alongsideHopper which takes advantage of school holidays, a great presence at SND.

Kaamelott – Second Part, part 1 achieves 450,000 entries for an average of 27 per session (e/s). It thus has the third best first week for a French film this year, between the 496,000 of My Mother, God and Sylvie Vartan at Gaumont, and the 423,000 of A bear in the Jurahowever released on a weaker combination (3,000 sessions less). Launched on the day the health pass was introduced in 2021, Kaamelott – First Part had for its part completed its first week with 707,000 entries (36 e/s).

The sci-fi thriller by Cédric Jimenez Chien 51 recorded good performance (-12%) in its second week, with 372,000 spectators (23 e/s). Note that it once again benefits from the second largest combination of screenings (16,200) for a French film this year, behind God Save the Tuche (19,600). Compared to the filmmaker’s previous achievements, it lags behind November (430,000 entries, 29 e/s in 2022, final accumulation of 2.4 million tickets) or North Bac (414,000, 29 per screening in 2021, final at 2.2 M) in their second week, but remains the SF offering currently in theaters which attracts the most, ahead of Tron : Ares or even Dalloway.

Also released last week, Hopper and the Secret of the Groundhog jumped by 77% (+19% screenings), reaching 310,000 additional spectators, for an average of 30 per screening. For its part, the animation released by KMBO, Super Grand Prixaccelerates by 79% – with an increase in its screenings of only 4% – to reach seventh place with 155,000 spectators (26 e/s). Another title for young audiences as a continuation, Gabby and the Magic House recorded 188,000 spectators (20 e/s), up +41% compared to the previous week (+20% of screenings).
On average, continuations experience a 2% increase in their entries, compared to -21% of sessions compared to the previous week. In addition to films for young audiences, two other titles are seeing an increase in admissions: the comedy UGC It was better tomorrow (+12% and -23% of sessions) has 617,000 tickets, and Sacred heart (+10% and -22% of sessions) still meets 44 spectators per session in its fourth week.

For their part, the six new releases in the ranking achieved 1.1 million admissions, for a market share of 36%. At Sony, the first adaptation of the manga Chainsaw Man – The Movie: Reze’s Arc ends with 180,000 tickets (20 e/s), below one Jujutsu Kaizen 0released by CGR Events in 2022 (285,000 admissions, 31 e/s) despite its good debut in Japan and across the Atlantic. The adaptation of Richard Matheson’s novel by Jan Kounen, The Shrinking Mancounts 150,000 entries for a small average of 14 e/s, while The Little Last by Hafsia Herzi (147,000 admissions) and the Feature Film Crystal at Annecy, Arco by Ugo Bienvenu (135,000 tickets) completed a good first week, with 31 and 30 e/s respectively. As for Springsteen : Deliver Me from Nowherewith 76,000 tickets (9 e/s), it is below A complete strangerreleased by Disney last February (25 e/s, 288,000 admissions) or even Better Man (10 e/s, 133,000 admissions at Paramount, final at 276,000 admissions*).

Finally, out of classification, we will note the performance of Depeche Mode : M at Pathé Live, which brings together a good average of 112 fans per session (166 in number), for a total of 18,500 spectators.

In total, the weekly top 20 counts 3.2 million tickets, up 42% compared to last week but down 24% compared to the equivalent week of 2024 and 26% compared to 2023. The overall average for the session is set at 23 e/s, a record – excluding rankings with an exit on exceptional visa – since the week of January 1. . Note that this is the first time since April 19, 2023 that two French films have benefited from more than 15,000 weekly screenings.

*Source : CBO Box-office

Entries made from October 15 to 21, 2025:

Weekly top 20 entries (2022-2025):