China’s box office had a clear weekend leader again, with Wen Muye’s Once Upon a Time in the Middle East holding No. 1 for a sixth consecutive weekend, while Christopher Nolan’s The Odyssey continued its strong run in South Korea by crossing 11.24 million admissions and moving into the country’s top five foreign films. Together, the results highlight the sustained theatrical runs of two very different films in two major Asian markets.
In mainland China, Once Upon a Time in the Middle East collected ¥28.1 million, or approximately $4.1 million, during the weekend, according to Artisan Gateway data. The result kept Wen Muye’s war comedy-drama at No. 1 for six consecutive weekends. Its cumulative Chinese theatrical gross has now reached $325.7 million, or more than ¥2.19 billion, since its nationwide release on August 11. The complete Chinese weekend top five was led by Once Upon a Time in the Middle East at ¥28.1 million, followed by V at approximately ¥18.4 million, The Odyssey at approximately ¥13.3 million, All Wishes Come True! at approximately ¥11.2 million and Spider-Man: Brand New Day at approximately ¥5.7 million.
The film has also crossed 60 million ticket sales in China, adding another major commercial milestone to its run. Wen Muye’s film follows a debt-burdened Chinese chef whose restaurant in a fictional Middle Eastern city becomes an unexpected refuge for civilians and children after conflict erupts. Its continued hold on the No. 1 position comes despite a relatively quiet weekend across the wider Chinese market.
The film’s international reach is also beginning to expand. Well Go USA Entertainment has acquired North American distribution rights to Once Upon a Time in the Middle East, with a theatrical release scheduled to begin on October 9. The deal gives the Chinese box-office success an opportunity to reach audiences outside its home market following its extended domestic run.
South Korea, meanwhile, delivered another major milestone for Christopher Nolan’s The Odyssey. The film recorded 11.24 million admissions by the morning of September 21, according to Korea’s integrated ticketing network, surpassing Avengers: Infinity War to move into fifth place among the highest-grossing foreign films in Korean history. The milestone follows its crossing of 10 million admissions just 33 days after its August 5 release.
For the September weekend, The Odyssey led the Korean box office with approximately ₩3.23 billion, followed by The Intern at ₩2.74 billion, Obsession at ₩1.44 billion, Resident Evil at ₩862.46 million and Spider-Man: Brand New Day at ₩296.26 million.
The 10 million-admission milestone is particularly notable for Nolan. The Odyssey is his second film to cross that threshold in South Korea after Interstellar, making him the first foreign director to achieve the feat with two standalone, non-franchise films.
The Odyssey is also the only foreign film released in South Korea in 2026 to cross 10 million admissions and the first foreign release to reach that level in roughly four years, since James Cameron’s Avatar: The Way of Water. The film was shot entirely on IMAX film cameras, reinforcing its large-format theatrical presentation.
The Korean run has therefore developed into a longer-term box-office story, with the film adding milestones beyond its initial opening. Its progression from crossing 10 million admissions to surpassing Avengers: Infinity War has further extended its position among the country’s major foreign releases. At the same time, Once Upon a Time in the Middle East continues to command the Chinese chart well beyond its opening weeks.
The weekend results in both markets underline the importance of sustained theatrical attendance. Once Upon a Time in the Middle East continues to lead China while preparing for its North American release, while The Odyssey continues to add major admissions milestones in South Korea. Their performances demonstrate how extended theatrical runs can significantly expand the box-office trajectory of films beyond their initial releases.