DC Studios’ Clayface has debuted at No. 1 at the North American box office with an estimated $24 million opening weekend, but A24’s You Can See Everything is delivering an equally remarkable performance. The Elizabeth Holmes documentary earned $19.5 million in its second weekend, increasing its ticket sales despite already spending a week in theaters.
The two films dominated the October 23–25 weekend, demonstrating how a comic-book horror movie and an unconventional documentary can both attract substantial theatrical audiences.
Clayface Opens to $43 Million Worldwide
Directed by James Watkins, Clayface collected $24 million from 3,458 North American theaters. The R-rated body-horror thriller also earned approximately $19 million internationally, bringing its worldwide opening to $43 million.
Starring Tom Rhys Harries as Matt Hagen, the film follows an aspiring Hollywood actor whose disfigurement leads him toward an experimental treatment with horrifying consequences.
With a reported $44 million production budget, Clayface represents a comparatively modest investment for a DC adaptation. Its global debut is encouraging, although box office revenue is not equivalent to studio profit because theaters retain a share of ticket sales and marketing expenses must also be considered.
The film received an A- CinemaScore from opening-night audiences, suggesting positive early reception. Its horror elements could also help sustain interest heading into Halloween weekend.
You Can See Everything Defies Documentary Box Office Expectations
While Clayface claimed first place, A24’s You Can See Everything delivered the weekend’s most surprising result.
Directed by Nathan Fielder and Lance Oppenheim, the documentary follows disgraced Theranos founder Elizabeth Holmes, beginning shortly before her imprisonment and developing into an unusual examination of truth, celebrity and manipulation.
After opening to approximately $15.6 million from 855 theaters, the film expanded to 2,655 locations during its second weekend.
The expansion helped boost its weekend earnings by approximately 25%, bringing its ten-day domestic total to $45.1 million.
An interesting comparison emerges from the numbers. Despite finishing second overall, You Can See Everything averaged approximately $7,345 per theater, compared with around $6,940 for Clayface.
That does not necessarily mean the documentary attracted more viewers per screening, but it illustrates the strength of its theatrical performance even after expanding significantly.
For a documentary running nearly three hours, that level of commercial interest is particularly unusual.
Wildwood Takes Third as Street Fighter Suffers
Elsewhere, Laika’s animated fantasy Wildwood debuted in third place with approximately $11.8 million.
Paramount’s Street Fighter dropped to fourth place with $8.6 million, representing a steep 72% second-weekend decline. The film has accumulated approximately $46.9 million domestically.
Meanwhile, Olivia Colman and Alexander Skarsgård’s Wicker opened in fifth place with $5.8 million.
The weekend presents two different success stories. Clayface has given DC a promising lower-budget theatrical opening, while You Can See Everything has demonstrated that documentaries can become significant commercial attractions when audience curiosity and release strategy align.
