With stunning scenes filmed in Abu Dhabi, F1: The Movie Middle East box office numbers are soaring—much like the sport’s growing popularity in the region.
Apple Original Films’ eagerly anticipated F1: The Movie, starring Brad Pitt and directed by Joseph Kosinski, has delivered an electrifying opening weekend at the global box office, becoming a historic milestone for the studio and the genre alike.
Racing to an extraordinary $144 million worldwide in its first four days, F1: The Movie proved that when premium content meets the right platform, audiences respond in unprecedented ways. The film’s domestic performance was nothing short of impressive, capturing $55.6 million domestically (US & Canada), while international markets contributed $88.4 million to boost the global tally.
But here’s where the story gets truly electrifying: these figures represent more than just solid box office performance—they’re rewriting the record books. Apple has officially crowned its new champion, with F1: The Movie speeding past previous theatrical releases like Killers of the Flower Moon and Napoleon to claim the studio’s highest-grossing opening weekend. For Brad Pitt, this marks a career milestone, surpassing even the zombie-fueled success of World War Z to become his biggest global launch ever.
The film now leads an entire genre, setting the record for the largest-ever opening weekend for a live-action motorsports film, outperforming acclaimed titles like Ford v Ferrari and Talladega Nights.
What’s driving this phenomenal success? It’s the perfect blend of star power, adrenaline-pumping action, and compelling storytelling—all delivered through Kosinski’s masterful direction, the same visionary behind Top Gun: Maverick’s soaring success.
Apple’s marketing strategy was equally sophisticated, with innovative tactics like haptic trailer technology serving as standout elements in a comprehensive campaign that created buzz by transcending traditional promotional boundaries.
The film’s global triumph has found particularly fertile ground in international markets, with standout performances across China, India, Mexico, and Australia. However, it is in the Middle East where F1: The Movie truly finds its home track.
The UAE, Saudi Arabia, and Bahrain spearheaded the region’s exceptional enthusiasm for the film—and for good reason. With significant portions filmed at Abu Dhabi’s iconic Yas Marina Circuit, the movie speaks directly to regional audiences who have witnessed Formula 1’s explosive growth in the region. This authentic connection between the film’s setting and its audience creates a perfect storm of engagement and cultural relevance.
According to Motivate Val Morgan’s comprehensive cinema admissions reporting platform, CineMeasure, the results speak volumes: over 270,000 admissions across our regional circuit during its initial four‑day run secured the coveted number-one position for the weekend. This success reinforces cinema’s unique power to maximize audience connection with premium storytelling.
Building on a season already packed with major releases, F1: The Movie joins the ranks of summer blockbusters such as Marvel’s Thunderbolts*, Mission Impossible: The Final Reckoning, Lilo & Stitch, A Minecraft Movie, and Arabic hits like Asaf and Siko Siko, all fueling exceptional momentum across the region. The Motivate Val Morgan circuit has now reached 16.5 million admissions as of June 2025. With highly anticipated titles including Superman, Fantastic Four: First Step, and Jurassic World: Rebirth still to come, this remarkable box office streak shows no signs of slowing down.
These impressive admissions figures across the region reflect not just enthusiasm for premium content but also underscore the strategic value of the cinema medium itself, which continues to capture audience attention and deliver engagement levels unmatched by other entertainment forms. Cinema remains uniquely positioned as the only premium platform where high-caliber content like F1: The Movie can be experienced in its full glory—delivering the immersive, high-impact experiences that premium storytelling demands.
F1: The Movie reinforces what the industry understands instinctively: when you have truly premium content, the platform choice becomes obvious. For studios and exhibitors, this success validates that compelling storytelling, top-tier talent, and the cinema experience create unmatched audience connection and profitability. For brands, the principle holds true—premium content naturally gravitates toward premium platforms that deliver the premium engagement and impact it deserves.
Sources: Deadline, MVM CineMeasure
From red carpet fashion statements, Eminem performing a song from 2002, to entertaining speeches, triumphant wins, Idina Menzel’s performance of Frozen 2’s ‘Into the Unknown’ and much more, Hollywood’s biggest night (The Academy Awards – also known as The Oscars), is finally done and dusted.
Parasite made history becoming the first foreign language film to win best picture and best director. The film also nabbed prizes for original screenplay and international feature film. The victory caps off an improbable awards season run for the South Korean thriller.
Joaquin Phoenix won the lead actor award for his work as the deranged failed-standup comic of Gotham (Arthur Fleck) in Joker, while Renée Zellweger won best actress for her portrayal of the legendary performer Judy Garland in Judy.
Meanwhile, Brad Pitt and Laura Dern picked up supporting actor and actress honors for their performance in Once Upon a Time…in Hollywood and Marriage Story respectively
Here’s the full list of winners:
Best Motion Picture – “Parasite”
Directing – Bong Joon Ho for “Parasite”
Actor in a Leading Role – Joaquin Phoenix in “Joker”
Actress in a Leading Role – Renée Zellweger in “Judy”
Actor in a Supporting Role – Brad Pitt in “Once Upon a Time…in Hollywood”
Actress in a Supporting Role – Laura Dern in “Marriage Story”
Animated Feature Film – Josh Cooley, Mark Nielsen and Jonas Rivera for “Toy Story 4”
Cinematography – Roger Deakins for “1917”
Original Song – Elton John and Bernie Taupin for “(I’m Gonna) Love Me Again” from “Rocketman”
Original Score – Hildur Guðnadóttir for “Joker”
International Feature Film – “Parasite” from South Korea
Makeup and Hairstyling – Kazu Hiro, Anne Morgan and Vivian Baker for “Bombshell”
Visual Effects – Guillaume Rocheron, Greg Butler and Dominic Tuohy for “1917”
Film Editing – Michael McCusker and Andrew Buckland for “Ford v Ferrari”
Sound Mixing – Mark Taylor and Stuart Wilson for “1917”
Sound Editing – Donald Sylvester for “Ford v Ferrari”
Documentary Short Subject – Carol Dysinger and Elena Andreicheva for “Learning to Skateboard in a Warzone (If You’re a Girl)”
Documentary Feature – Steven Bognar, Julia Reichert and Jeff Reichert for “American Factory”
Costume Design – Jacqueline Durran for “Little Women”
Production Design – Barbara Ling and Nancy Haigh for “Once Upon a Time…in Hollywood”
Live Action Short Film – Marshall Curry for “The Neighbors’ Window”
Adapted Screenplay – Taika Waititi for “Jojo Rabbit”
Original Screenplay – Bong Joon Ho for “Parasite”
Animated Short Film – Matthew A. Cherry and Karen Rupert Toliver for “Hair Love”
Source: Oscars
