"Karma" managed to secure the leading position among new films, with its total admissions including 22,852 from preview screenings. These numbers, while putting it ahead of other fresh entries, place "Karma" as the second-lowest opening for Canet as a director. This contrasts sharply with the impressive debut of his previous blockbuster, "Astérix et Obélix : L'Empire du Milieu," which garnered 466,703 admissions on its opening day alone and went on to accumulate a total of 4 million tickets.
The new film's performance slightly surpasses Canet's 2021 drama "Lui," which saw 15,551 attendees on its first day. The box office data, sourced from CBO - Box-Office, offers a clear snapshot of the competitive French cinema landscape.
Following "Karma" in the weekly new release rankings was DreamWorks' animated feature, "L'île des souvenirs," which attracted 47,657 viewers. The film benefits from a production team largely composed of talent behind the successful 2024 Universal animation "Le Robot sauvage," a film that nearly reached 2 million admissions.
Taking the third spot was "Shaun le Mouton : La Bêêête d'Halloween," with 44,704 admissions. This latest installment in the beloved animated series shows a healthy improvement over its predecessor, "Shaun le Mouton : La Ferme en folie," which opened with 25,430 tickets last year.
The fourth position was claimed by "Clayface," a new DC Universe entry delving into the horror genre, securing 26,622 admissions. This marks a new direction for the DC cinematic universe, offering a standalone film for another Batman antagonist, seven years after the critically acclaimed "Joker."
Rounding out the top five was Éric Judor's "Le roi du Game," which registered 18,781 admissions. This film arrives nine years after Judor's previous feature, "Problemos," which opened with 10,949 admissions.
The box office results for the week highlight a diverse slate of films appealing to various audiences, from auteur dramas to animated family features and superhero horror. While "Karma" took the top spot for new releases, its performance raises questions about the evolving reception of Guillaume Canet's directorial work in the French market.