In a remarkable turn of events, the animated faith-based film The King of Kings has overtaken Bong Joon-ho’s critically acclaimed Parasite to become the highest-grossing Korean film in the United States. This achievement not only underscores the evolving landscape of global cinema but also highlights the growing appetite for diverse narratives among American audiences.
A New Champion in Korean Cinema
Released on April 11, 2025, The King of Kings is an animated Christian film directed by Seong-ho Jang. Loosely inspired by Charles Dickens’ The Life of Our Lord, the movie features an impressive voice cast, including Oscar Isaac as Jesus Christ, alongside Kenneth Branagh, Uma Thurman, Mark Hamill, Pierce Brosnan, Forest Whitaker, Ben Kingsley, and Roman Griffin Davis .
The film’s narrative follows the life of Jesus, framed through Dickens narrating the story to his son Walter. This unique storytelling approach, combined with high-quality animation and a compelling score by Kim Tae-seong, has resonated with audiences, particularly families seeking faith-based content.
Box Office Triumph
The King of Kings opened to an impressive $19.4 million in its first weekend, setting a new record for animated faith-based films by surpassing the $14.5 million debut of 1998’s The Prince of Egypt . The film’s success continued into its second weekend, coinciding with Good Friday and Easter, where it earned $17.6 million—a mere 9% drop from its opening .
As of now, the film has grossed $59.1 million in the United States, surpassing Parasite‘s U.S. box office total of $53.7 million . This milestone marks a significant achievement for Korean cinema, demonstrating its expanding influence and appeal in international markets.
The Legacy of ‘Parasite’
Before The King of Kings, Parasite held the title of the highest-grossing Korean film in the U.S. Directed by Bong Joon-ho, the 2019 dark comedy thriller captivated audiences with its incisive social commentary and masterful storytelling. The film made history by becoming the first non-English-language movie to win the Best Picture Oscar, along with awards for Best Director, Best Original Screenplay, and Best International Feature Film .
Parasite‘s success was not limited to critical acclaim; it also performed admirably at the box office. Opening in just three theaters in New York and Los Angeles, the film earned $376,264 in its debut weekend, achieving a per-theater average of $125,421—the highest since La La Land and the best ever for an international film opening in the U.S. .
Factors Behind ‘The King of Kings’ Success
Several elements contributed to the remarkable performance of The King of Kings in the U.S. market:
1. Strategic Release Timing: Launching the film just before Easter capitalized on the holiday’s religious significance, attracting families and faith-based audiences seeking meaningful content during the season.
2. Star-Studded Voice Cast: Featuring renowned actors like Oscar Isaac, Kenneth Branagh, and Uma Thurman lent the film significant appeal, drawing in viewers who might not typically attend animated religious films.
3. Innovative Storytelling: By framing the life of Jesus through Charles Dickens narrating to his son, the film offered a fresh perspective on a well-known story, making it accessible and engaging for both children and adults.
4. Positive Audience Reception: CinemaScore audiences awarded the film an “A+” grade, while PostTrak reported a 94% overall positive score, with 83% of viewers stating they would definitely recommend the film .
5. Effective Marketing: Distributed by Angel Studios, known for the surprise hit Sound of Freedom, the film benefited from a robust marketing campaign that included a ticket initiative allowing patrons to pay forward tickets for others .
Implications for Korean Cinema
The success of The King of Kings in the U.S. signifies a broader acceptance and appreciation of Korean cinema beyond traditional genres. While Parasite showcased the potential for Korean films to achieve critical acclaim and mainstream success, The King of Kings demonstrates the versatility of Korean filmmakers in producing content that resonates with diverse audiences.
This achievement may encourage more Korean studios to explore international collaborations and invest in genres that have global appeal, such as animation and faith-based narratives. Additionally, it highlights the importance of strategic release timing and targeted marketing in reaching wider audiences.
Conclusion
The King of Kings‘ ascent to the top of the U.S. box office for Korean films marks a significant milestone in the global cinematic landscape. By blending innovative storytelling, a stellar voice cast, and strategic marketing, the film has not only surpassed the box office success of Parasite but also expanded the horizons for Korean cinema in international markets. As audiences continue to seek diverse and meaningful content, the triumph of The King of Kings serves as a testament to the universal power of storytelling and the growing influence of Korean filmmakers on the world stage.
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