‘One Battle After Another’ Tops Box Office—but Can It Turn a Profit?
Paul Thomas Anderson’s latest film, One Battle After Another, stormed to the top of the North American box office with a $22.4 million opening weekend. But behind the headlines lies a high-stakes Hollywood gamble: the film reportedly cost $130 million to produce—plus another $70 million in marketing—raising serious questions about its path to profitability.
By the Numbers: A Box Office Breakdown
| Metric | Value |
|---|---|
| Domestic Opening (4-day) | $22.4 million |
| International Opening | $26.1 million |
| Global Total (Weekend) | $48.5 million |
| Production Budget | $130+ million |
| Marketing Spend | ~$70 million |
| CinemaScore Rating | A (Excellent) |
| Opening Audience Gender Split | 65% male, 35% female |
Why This Opening Is Bittersweet
Despite critical acclaim and a No. 1 debut, the film’s performance is 35% below Leonardo DiCaprio’s recent wide-release average. Analysts note that DiCaprio, now 50, no longer commands the box office dominance of his 2010s heyday.
- Artistic Triumph: Critics hail it as “brilliantly directed” and “an absolute masterpiece”
- Commercial Risk: Needs strong legs and global appeal to recoup costs
- Oscar Potential: Early buzz points to major awards contention
- Competition Looms: Taylor Swift’s surprise concert film drops next weekend, projected to earn $30–50M
Leonardo DiCaprio stars as a broken-down revolutionary in Paul Thomas Anderson’s politically charged epic. (Credit: Warner Bros.)
Can It Still Succeed?
Warner Bros. may not need theatrical profits to call this a win. Industry experts point to strong post-theatrical potential:
- High CinemaScore (A) suggests strong word-of-mouth and repeat viewings
- DiCaprio’s films historically perform well overseas—global total could surpass $250M
- Digital rentals, streaming rights, and Oscar-driven catalog value add long-term revenue
As film consultant David A. Gross notes: “It’s going to net more money in its ancillary business than in theatrical.”
Warner Bros. has a track record of turning expensive passion projects into strategic wins—see April’s Sinners, which grossed $367M worldwide after a slow start.
