The You Can See Everything box office story took an unexpected turn over Halloween weekend. A documentary about Theranos founder Elizabeth Holmes, directed by Nathan Fielder and Lance Oppenheim, climbed to number one in North America after two weekends at number two.

According to CityBiz, citing Rentrak figures reported by Seeking Alpha, the A24 film earned an estimated $10.6 million for October 30 to November 1, in its third weekend. That was just enough to edge Warner Bros.’ Clayface, which took about $10.4 million in its second weekend.

It wasn’t a runaway win. It was a photo finish. According to the LA Post, which drew on studio estimates and Rentrak figures, Clayface trailed by only $200,684. CityBiz also warned that the order could still switch when final receipts arrived on Monday, since weekend estimates are preliminary and subject to revision. So don’t treat the ranking as carved in stone yet. Treat it as a very close estimate, with a documentary narrowly ahead of a DC Studios release on a quiet holiday weekend.

That closeness is part of why the result got attention. Documentaries don’t usually beat comic-book-adjacent horror at the top of the chart, even in a slow weekend. This one did, barely, and after falling 43% from the previous weekend, according to CityBiz. Clayface fell harder, dropping 57%, according to the same report. In other words, the winner didn’t surge. It held on better than its rival while the whole market shrank.

A slow weekend, not a collapse

Let’s be clear about the scale. Across the United States and Canada, ticket sales totalled an estimated $55.7 million for October 30 to November 1, according to CityBiz. That’s down 42.1% from the previous weekend. The LA Post called it the second-lowest-earning weekend of the year, and said sales weren’t likely to surpass $56 million, based on studio estimates on Sunday.

Halloween does that. People go to parties, take kids trick-or-treating, and stay home on Saturday night. The LA Post pointed to the holiday drawing audiences away from theatres on Saturday, and that explanation fits the numbers. A $55.7 million weekend sounds weak on its own. Put it next to last year, though, and it looks less alarming: according to CityBiz, the total still beat the comparable weekend in 2025 by 4.2%.

The year as a whole is still ahead, too. According to CityBiz, domestic box office revenue has reached about $8.46 billion this year, up 20.1% from $7.05 billion during the same period in 2025. The LA Post put the year-to-date figure at nearly $8.5 billion, up over 17% from last year. Those two reports don’t match to the decimal, because they round and frame the comparison differently, but they point the same way. The market is up for the year, even if Halloween weekend itself was soft.

That’s an important distinction for anyone reading too much into one weekend. A slow holiday frame doesn’t erase a stronger year. It just shows how uneven moviegoing can be, week to week, when no huge new release lands and a holiday pulls people elsewhere. CityBiz made a similar point, noting that the Halloween slowdown shows how much new releases matter for keeping theatre attendance up.

What the top five looked like

Behind the top two, the chart had a familiar shape: animation in third, a smaller prestige title holding well in fourth, and a fading action title in fifth.

Fathom Entertainment’s animated fantasy Wildwood placed third with $7.5 million, according to CityBiz, bringing its domestic total to $25.9 million. The LA Post reported that the Laika film added 150 screens in its second weekend, bringing its footprint to 3,100 theatres in the United States and Canada, and fell 39% from its first weekend. CityBiz also noted strong audience polling for Wildwood, with 98% of respondents saying they would definitely or probably recommend it. That’s a good sign for its legs, even if the weekend itself wasn’t huge.

Black Bear’s Wicker, starring Olivia Colman and Alexander Skarsgård, finished fourth with $4.1 million, according to CityBiz, lifting its domestic total to $13.3 million. Its 28% decline was smaller than the drops for the weekend’s three leading films, according to CityBiz, which suggests steadier word of mouth. The film also opened at number one in the United Kingdom with $2.2 million, excluding previews, according to CityBiz. The LA Post described its premise plainly: Colman plays a woman who commissions a basket maker to build her a wicker husband, played by Skarsgård. It’s a strange setup, and it seems to be finding its audience slowly rather than all at once.

Street Fighter rounded out the top five with $3.2 million, according to CityBiz, for a domestic total of $53.0 million. The rest of the top ten, according to CityBiz, was Resident Evil at $2.5 million, Other Mommy at $2.5 million, The Only Living Pickpocket in New York at $1.9 million, Heart of the Beast at $1.6 million, and Sense and Sensibility at $1.4 million. The LA Post’s top ten matched that order, with the same weekend figures.

Two lower-half totals deserve a note. According to CityBiz, Sony’s Resident Evil reached $400 million worldwide in its seventh weekend, while Universal’s Other Mommy reached $107.5 million worldwide. Neither is winning weekends anymore, but both are still adding money around the world.

Why You Can See Everything kept going

So why did a $7 million documentary, as the LA Post described its reported production budget, outlast a much bigger studio release for one weekend? The numbers give a partial answer.

According to CityBiz, You Can See Everything has now collected about $63.9 million domestically. The LA Post reported the same $63.9 million total, and noted that this was the first time the film had hit number one. Against a reported $7 million budget, that’s a striking return, even before overseas grosses and later windows are counted. Clayface, by contrast, has earned $44.1 million domestically, according to both CityBiz and the LA Post, against a reported $44 million budget cited by the LA Post. It hasn’t flopped outright, but it hasn’t cleared its budget domestically yet either, and its 57% second-weekend drop didn’t help.

Buzz helps explain the documentary’s staying power. According to the LA Post, the film continues to generate the kind of buzz that’s hard to buy. That’s vague, but it fits a pattern: a film people talk about, argue about, and recommend can hold better than a film people simply show up for on opening weekend and then forget. You Can See Everything had already spent two weekends at number two before this win, according to reports of its run. It didn’t need a huge opening. It needed to keep declining more slowly than everything else, and over Halloween weekend, it did.

Horror is still doing heavy lifting for theatres this year. According to CityBiz, horror has generated an estimated $1.38 billion domestically through November 1, about $44.3 million below its full-year 2025 record. Halloween should favour those films, but this year it mostly kept them afloat while attendance dipped.

For background on both leading titles, readers can revisit our earlier coverage: the Elizabeth Holmes documentary’s earlier box office run is covered here: You Can See Everything Elizabeth Holmes documentary box office, and Clayface’s opening weekend is covered here: Clayface box office opening weekend.

What comes next

The next test for theatres, according to CityBiz, comes with The Cat in the Hat, scheduled to open in about 4,000 locations, and Godzilla Minus Zero, expected in about 2,700 theatres. If either catches fire, the Halloween lull will look like a blip.

Final figures for October 30 to November 1 were due on Monday, according to the LA Post, and they could still flip the top two. For now, the estimate tells a neat story: a small, talked-about documentary edged a studio horror title by about $200,000. A win is a win, even a narrow one, and this one took three weekends to arrive.

FAQ

Which film won the Halloween box office weekend?

According to CityBiz, citing Rentrak figures reported by Seeking Alpha, You Can See Everything earned an estimated $10.6 million for October 30 to November 1, narrowly ahead of Clayface at $10.4 million.

How much did the whole North American market earn that weekend?

According to CityBiz, ticket sales across the United States and Canada totalled an estimated $55.7 million, down 42.1% from the previous weekend but up 4.2% on the comparable weekend in 2025.

What were the domestic totals for the top two films?

According to CityBiz and the LA Post, You Can See Everything had reached about $63.9 million domestically, while Clayface had reached $44.1 million domestically.

Could the final figures change the ranking?

Yes. According to CityBiz, weekend estimates are preliminary and subject to revision, and the narrow margin means the films could switch positions when final receipts are released Monday.