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Brad Pitt’s ‘F1’ Races to No. 1 at Korean Field Workplace
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F1 Races to No. 1 at Korean Box Office with Brad Pitt

The thrilling Hollywood racing dramaF1,” featuring the renowned actor Brad Pitt, achieved remarkable success by debuting at the top of the South Korean box office during the weekend of June 27–29. The film garnered an impressive $2.8 million, drawing in 347,422 admissions across 1,584 screens. This remarkable performance not only highlights the film’s popularity but also showcases the growing interest in racing-themed narratives within the cinematic landscape.

According to KOBIS, the authoritative monitoring service managed by the Korean Film Council, “F1” accounted for a staggering 37.8% of the weekend market share. Following its successful opening, the film has accumulated a total of $3.8 million from 482,490 admissions, indicating a strong reception among audiences and solidifying its position as a must-see film in theaters.

Moving to the second spot, DreamWorks’s animated feature “How to Train Your Dragon” managed to secure $1.08 million with 152,226 admissions. After four weekends since its launch, this beloved film has reached a commendable total of .4 million in South Korea, showcasing its enduring popularity among families and animation enthusiasts alike.

In third place, the local film “Noise” opened strongly, earning $1.08 million from 147,849 admissions across 878 screens. Directed by Kim Soo-jin, this supernatural horror film centers around Ju-young, played by Lee Solar-bin, a woman grappling with hearing impairment who becomes haunted by eerie sounds connected to her sister’s mysterious disappearance. The film has already grossed $1.4 million, reflecting a growing appetite for compelling local stories.

Meanwhile, Disney-Pixar’s sci-fi animated adventure “Elio” slipped to fourth place, earning $851,140 from 124,484 admissions. This brings its cumulative earnings to $3 million, illustrating the film’s appeal and the unique storytelling that captivates audiences of all ages.

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Another local production, “Hello-5,” claimed the fifth position with earnings of $339,193, resulting in a new total of $12.6 million. With over 1.84 million tickets sold since its release, this film continues to resonate well with South Korean audiences, further emphasizing the strength of homegrown cinema.

The post-apocalyptic horror sequel “28 Years Later” positioned itself at sixth place, accumulating $230,985. After two weekends, the film has grossed a total of $2.1 million, demonstrating the ongoing interest in dystopian narratives and their ability to attract viewers.

Mission: Impossible – The Last Reckoning” came in seventh with earnings of $173,972, which has increased its cumulative total to an impressive $24.3 million with over 3.35 million admissions. This indicates the franchise’s sustained popularity and the audience’s enthusiasm for high-stakes action films.

The South Korean occult political thriller “The Pact” followed closely with earnings of $133,401 from 18,840 admissions, bringing its total earnings to over $5.2 million. This film’s gripping narrative has resonated with viewers, showcasing the appeal of thrilling and thought-provoking content.

New local entry “Anonymous” ranked ninth, grossing $132,362 from 18,023 admissions during its debut frame. Directed by Ha Jung-woo, this faith-based documentary has garnered attention, and its total now stands at $227,522, reflecting the market’s openness to diverse storytelling.

Finally, the re-release of Studio Ghibli’s classic “Nausicaa Of The Valley Of The Winds” rounded out the top ten, earning $117,800 from 14,942 admissions. Its total gross in Korea has now reached $200,318, highlighting the enduring legacy of this animated masterpiece and its continued relevance in contemporary cinema.

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The collective earnings of the top ten films during the June 27–29 weekend totaled an impressive $7.2 million, marking a significant increase from the previous weekend’s total of .3 million. This surge in revenue showcases the vibrant state of the South Korean film industry and its ability to draw audiences back to theaters.

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Sarah Parker
Sarah Parker is a research analyst and content contributor with a strong interest in business strategy, organizational behavior, and social development. With a background in sociology and public policy, she focuses on exploring the intersection between research and real-world application. Sarah regularly contributes articles that bridge academic insights and practical relevance, aiming to foster critical thinking and innovation across sectors.