The weekend box office landscape was alive with activity, particularly spotlighting several notable indie projects amid a raft of wide releases. Fueled by performances from Andrew Garfield and Florence Pugh, A24’s *We Live In Time* emerged as a standout. Making a splash with its debut, the film captured attention not only for its artistic merits but also for its financial success, which reflects current trends in limited film releases.
*We Live In Time*, directed by John Crowley, made an impressive debut on just five screens, achieving the third-best limited opening of the year, falling in line with strong performances from *Kinds of Kindness* and *Saturday Night*. Its opening weekend gross of $225.9k, equating to an average of $45.9k per screen, demonstrates an encouraging start in a challenging marketplace. In contrast to some wider offerings that often overshadow smaller films, this indie showing signals that audiences are still hungry for fresh voices and original narratives. A later national expansion is expected to broaden its reach, with a wide release slated for October 25.
The narrative structure of *We Live In Time*—a non-linear exploration of relationships and marriage—positions it uniquely within the current cinematic landscape. By breaking away from linear storytelling conventions, Crowley’s film invites viewers to experience emotional depth in an innovative way. Its premiere at the Toronto International Film Festival (TIFF) was met with acclaim, underscored by sold-out Q&A sessions in Los Angeles, hinting at a genuine connection with audiences. This engagement, coupled with strong exit polling in key markets, points to an intriguing blend of artistic vision and commercial viability.
In this busy weekend, A24 was not alone in the indie sector. The cinematic space also welcomed *A Different Man*, which stars Sebastian Stan and grossed $46.9k across 103 screens during its third week in theaters, cumulatively reaching about $576.9k. Additionally, other indie offerings, like *The Front Room*, from a psychological horror standpoint, continue to draw smaller but significant audiences. As Stan further engages with audiences by portraying Donald Trump in the upcoming *The Apprentice*, the varied potential for independent films to tap into cultural discourse offers layers to viewer engagement.
Meanwhile, Toho International’s animated feature, *My Hero Academia: You’re Next*, grossed over $3 million from nearly 1,850 screens, securing a comfortable spot in the top ten. Its performance illustrates how animated films—with niche fanbases—can sometimes create unexpected hits and vie for box office attention alongside traditional live-action films. Focus Features’ *Piece By Piece,* which presented a unique look at artist Pharrell Williams, also performed exceptionally well, earning $3.8 million from a substantial number of theaters.
The weekend also saw several holdovers sustaining their presence with modest earnings. Mubi’s *The Substance*, featuring Demi Moore, continued to garner an estimate of $1.14 million, reflecting its steady appeal over several weeks. Matt Walsh’s *Am I Racist*, despite its provocative topic appealing mainly to a certain audience segment, has managed to gross $12.5 million over five weeks, signaling continued interest in socially charged content. Lesser-known titles like *Look Back* and *Lee* hold potential as well, illustrating how multiple films can coexist in the independent sphere through various themes and narrative styles.
The weekend box office showcases not only the financial dynamics of indie cinema but also the rich tapestry of storytelling that continues to thrive alongside blockbuster releases. As films like *We Live In Time* break ground with bold narratives and compelling performances, they reaffirm the notion that independent cinema can carve out significant space within a competitive market. While challenges persist for smaller films, the ongoing interest from audiences indicates that creativity, in all its forms, holds substantial value—both at the box office and beyond.