‘You Can See Everything’ Edges Out ‘Clayface’ to Win a Sleepy Halloween Weekend Box Office

Halloween is supposed to be a great time for horror, but this year the calendar did the box office no favors. With the holiday landing on a Saturday, studios steered clear of releasing anything major, leaving the top of the chart to holdovers. That set up a rematch between two very different movies that had been trading blows for the past week.

On one side was DC Studios’ R-rated body horror ‘Clayface‘, which opened at the top of the chart the previous weekend with $24 million. On the other was A24’s Elizabeth Holmes documentary ‘You Can See Everything’, directed by Nathan Fielder and Lance Oppenheim, which had been surging despite being a nearly three-hour nonfiction film. Heading into Halloween, forecasters expected a tight contest.

The result is now in: ‘You Can See Everything’ has beaten ‘Clayface’ for the top spot at the domestic box office over the Halloween weekend. Studio estimates give the documentary $10.6 million in its third weekend, while ‘Clayface’ earned $10.4 million in its second. The margin was just $200,684, and it marks the first time the documentary has finished in first place.

Both films were hurt by the holiday, as people spent Saturday trick-or-treating and partying instead of heading to theaters. Overall ticket sales were not expected to surpass $63 million, which would make it the third-lowest-earning weekend of the year. Final figures arrive Monday, so the order could still shift slightly.

The documentary slipped 43% from its $19.5 million second weekend, which was actually 25% higher than its opening. Its total now stands at about $63.9 million, which places it sixth among all documentaries in US and Canadian box office history. A $100 million domestic finish looks unlikely, but the run has already been extraordinary.

‘You Can See Everything’ opened to roughly $15 million from only 855 screens, with more than 2,000 sold-out showings, according to A24. That was one of the biggest documentary openings in more than 20 years, behind only the $23.9 million posted by ‘Fahrenheit 9/11’ in 2004. The film follows Holmes and her partner during the weeks before she began a federal prison sentence.

Critical response has been overwhelming, with a 99% Rotten Tomatoes score and a record-high 4.8 rating on Letterboxd. Some critics have even predicted a Best Picture nomination. Its young audience helped fuel the run, with over 70% of the opening weekend crowd under 35.

The money story is just as striking. The film reportedly cost under $7 million to make and less than $10 million to market, so its returns are already enormous. Its strong run also helped push October grosses up 32% year over year to $570 million, making it the second-highest-grossing film of the month.

By comparison, ‘Clayface’ fell 57% in its second frame and now has $44.1 million domestically against a reported $44 million budget. Its worldwide total sits at $83 million after 10 days. Even though it lost the weekend crown, the horror film is still considered a modest win for a studio that suffered through the disappointment of ‘Supergirl’.

The teaser trailer ‘YOU CAN SEE EVERYTHING,’ a documentary by Nathan Fielder and Lance Oppenheim. Thirty-four days before she’s sent to prison, Elizabeth Holmes invites a skeptical film crew to document her every move. In theaters this October. https://t.co/LHRvYLXULH

— Film Updates (@FilmUpdates) September 7, 2026

For ‘Clayface’, the picture improves overseas. The film is still rolling out across 76 international markets, where it has held up better than at home. Projections for its worldwide run range from $130 million to $150 million.

‘You Can See Everything’ is only beginning to expand internationally, with Turkey among its early markets and Sony holding the rights to release it in India. With awards chatter building, the documentary could keep finding audiences well into the holiday season.

The finish caps one of the most unusual stretches of the fall box office. A documentary about a disgraced Theranos founder is now outpacing a comic book adaptation, and it did so on a holiday weekend that normally favors scares. The result shows how a combination of buzz, word of mouth and social media discourse can reshape what audiences want to see in theaters.

It also gives both studios something to point to. A24 can celebrate a breakout hit built on a tiny budget, while DC can say ‘Clayface’ kept pace with the year’s most talked-about movie despite a rough frame.

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