Italy Box Office for Midway (2019)

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Midway
Theatrical Performance (US$)
Italy Box Office $1,269,303Details
Worldwide Box Office $126,787,360Details
Home Market Performance
North America DVD Sales $11,887,771 Details
North America Blu-ray Sales $19,436,342 Details
Total North America Video Sales $31,324,113
Further financial details...

Synopsis

The Battle of Midway, a clash between the American fleet and the Imperial Japanese Navy, marked a pivotal turning point in the Pacific Theater during World War II. The film, based on the real-life events of this heroic feat, tells the story of the leaders and soldiers who used their instincts, fortitude and bravery to overcome the odds.

Metrics

Movie Details

Production Budget:$100,000,000
Italy Releases: November 27th, 2019 (Wide)
Video Release: February 4th, 2020 by Lionsgate Home Entertainment
MPAA Rating: PG-13 for sequences of war violence and related images, language and smoking.
(Rating bulletin 2598 (Cert #52268), 10/2/2019)
Running Time: 138 minutes
Keywords: World War II, 1940s, War, Navy, On a Boat, In a Plane, Historical Battles, Ensemble, Action Adventure
Source:Based on Real Life Events
Genre:Action
Production Method:Live Action
Creative Type:Dramatization
Production/Financing Companies: Providence Film Partners, Centropolis Entertainment, Entertainment One, Lionsgate, Shanghai Ruyi Entertainment, Beijing Universe Starlight Culture Media Company, Street Entertainment , AGC
Production Countries: Canada, United States
Languages: English

Home Market Releases for February 18th, 2020

February 19th, 2020

Jojo Rabbit

There are not a lot of major releases on this week’s list, but what we lack in quantity, we more than make up for in quality. In fact, there are five contenders for Pick of the Week and a couple of other smaller releases that might end up in my collection soon. It is going to be a rough week on my wallet. These include a couple of Oscar contenders, A Beautiful Day in the Neighborhood and Jojo Rabbit; a couple of animated releases, The Point! and Tex Avery: Screwball Classics: Volume 1; and a TV on DVD Megaset, Unbreakable Kimmy Schmidt: The Complete Series. All five releases are worth picking up, but I’m going with Jojo Rabbit as this week’s Pick of the Week. More...

Home Market Releases for February 4th, 2020

February 5th, 2020

That Time I Got Reincarnated as a Slime

It is a slow week for truly great releases. Both Doctor Sleep and The Nightingale are worth picking up, but not Pick of the Week contenders. Last Christmas is also worth picking up, but only if you like Romantic Comedies with magical realism. As for the Pick of the Week, I’m going with That Time I Got Reincarnated as a Slime: Season One, Part Two and if you really into Isekai Anime, grab Isekai Quartet: Season One as well. More...

Weekend Predictions: Will Audiences be Thankful this Thanksgiving?

November 27th, 2019

Frozen II

There are two wide releases this Thanksgiving, both of which are earning stellar reviews. Unfortunately, only one of those two films, Knives Out, is expected to make any real impact at the box office. Queen and Slim is just hoping to reach the top five. That said, both films will be crushed by Frozen II, which broke records last weekend and it is expected to have a strong hold during the holidays. This weekend last year was the weekend after Thanksgiving and the biggest new release was The Possession of Hannah Grace. Queen and Slim should top that at the box office. In fact, Knives Out might top Ralph Breaks the Internet’s sophomore stint, so even without Frozen II, the weekend would be looking good. 2019 might do well enough on the year-over-year competition that it will save November and give the year a real shot at ending on a strong note. More...

Weekend Wrap-Up: Frozen has Fantastic Opening with $130.26 million

November 26th, 2019

Frozen II

Frozen II beat expectations over the weekend, and earned several records along the way. In fact, its three-day opening of $130.26 million is better than the previous 5-day Thanksgiving weekend for an animated film, a record previously held by Frozen. The other two new releases, A Beautiful Day in the Neighborhood and 21 Bridges, missed expectations, but were close enough that the overall box office was very healthy. In fact, the box office rose 89% from last weekend to $204 million. This was 5.7% lower than the same weekend last year, but this weekend last year was Thanksgiving, so being down by 5.7% during a holiday misalignment is a fantastic result. We did lose the weekday holidays, so year-over-year, 2019 lost a lot of ground to 2018 and is now behind last year’s pace by 7.4% or $770 million at $9.71 billion to $10.48 billion. We should gain a lot next weekend, thanks to Thanksgiving, and by the first weekend of December, things will settle down. More...

Weekend Estimates: Frozen II Sets Animation Records with $127 million

November 24th, 2019

Frozen II

It didn’t look like Frozen II would match our $125 million prediction based on Friday’s estimate, but if weekend estimates hold, it will did so with $127.0 million. This is not only the highest opening weekend for an Animated film in November, but anytime outside of summer. This greater-than-anticipated internal multiplier stronger suggests better legs overall. It is a family film opening just before Thanksgiving, so it was expected to have long legs regardless, but its reviews and its A minus from CinemaScore were merely good and not great. Add in the sequel effect and the film leg’s wouldn’t be nearly as stunning as the first Frozen’s legs were. However, after this result, I’m a lot more confident the film will still be at least a truly wide release come January, if not a saturation level release, as its predecessor was. More...

Friday Estimates: Frozen II Sets Fire to the Record Book

November 23rd, 2019

Frozen II

As expected, Frozen II started with a record-breaking Friday, as the film pulled in $41.8 million during its opening day, the best day in November for an animated film. Combine this start with its reviews and its A minus from CinemaScore and the film should have decent legs. The audience reaction is a little disappointing, so I think our prediction of $125 million is unlikely. It will come close enough to become a huge hit domestically. In fact, it is on pace to smash the November 3-day weekend for an animated film by the middle of Saturday and the five-day Thanksgiving weekend for any film by the middle of Sunday, and it isn’t even Thanksgiving. Those records are currently held by The Incredibles ($70.5 million) and The Hunger Games: Catching Fire ($109.9 million). The Incredibles record will obviously be broken, but we’ll have to wait until next week to see what Thanksgiving looks like. Frozen II is the fastest-starting November animated release of all time, but I don’t think it will have the legs to catch Frozen’s domestic total, unless it is able to remain in saturation level wide release until the New Year. More...

Weekend Predictions: Can Frozen Heat Up the Box Office?

November 21st, 2019

Frozen II

The winter holiday season unofficially began on the first weekend of November and so far performance at the box office has been less than acceptable. That needs to—and should—turn around this weekend. According to most industry trackers, Frozen II should break records. Its reviews are far from award-worthy, but they are great for a family film. On the other hand, A Beautiful Day in the Neighborhood’s reviews are award-worthy and the film should have really long legs, especially if major nominations start rolling in. Finally, 21 Bridges has the weakest reviews and the lowest box office potential of the three wide releases this week. This weekend last year was led by the one-two punch of Ralph Breaks the Internet and Creed II. Frozen II should easily earn more than those two’s combined $92 million. Unfortunately, last year there were four films that topped $20 million over the weekend, while this year there will be only one. Last year’s depth will likely result in 2019 losing yet another weekend in the year-over-year competition. At least it should be close. More...

Weekend Wrap-Up: Ford v Ferrari has no Competition at the Box Office

November 18th, 2019

Ford v Ferrari

Ford v Ferrari had a good opening over the weekend, but unfortunately, it was only good and not great. Furthermore, it was the only film that had a good weekend. The other two new releases crashed and burned, while the holdovers couldn’t compensate for this weakness. The overall box office fell 11% from last weekend to just $108 million, which was 37% lower than the same weekend last year. The year-to-date numbers don’t look any better, as 2019 is now behind 2018’s pace by a margin of 6.5% or $660 million at $9.47 billion to $10.13 billion. Worse still, 2019 has fallen behind 2016’s pace. Things need to turn around and fast. More...

Weekend Estimates: Ford and Ferrari v Top Five

November 17th, 2019

Ford v Ferrari

If the weekend estimates hold, then Ford v Ferrari, with an estimated $31.04 million, will open with almost as much as the rest of the top five combined. A lot of time when something like this happens, it is because there’s a monster hit opening. In this case, Ford v Ferrari will need strong legs just to top its production budget and hit $100 million at the box office and it is dominating the box office due to really weak competition. Fortunately, the film should have strong legs thanks to its reviews and its A plus from CinemaScore. The film is not doing as well internationally with an opening of $21.4 million in 41 markets. This includes a $3.2 million debut in Russia and $2.3 million debuts in the U.K. and France. If the film can earn some Awards Season buzz, then it could have the legs to get to $250 million worldwide, which should be enough to break even sometime during its home market run. More...

Friday Estimates: Ford v Ferrari Laps the Competition

November 16th, 2019

Ford v Ferrari

Ford v Ferrari is going to dominate the weekend chart. In fact, it earned more on Friday than the second place film is expected to earn during the full weekend. The film pulled in $10.94 million during its opening day, putting it on pace for $30 million over the full weekend, which is significantly ahead of our prediction. Its reviews and its A plus from CinemaScore should result in stellar word-of-mouth. It might even do well during Awards Season, although if it does win any Oscars, I think it will be limited to technical categories. More...

Weekend Predictions: Can Ford get the Pole Position on the Angels?

November 14th, 2019

Ford v Ferrari

There are three wide releases coming out this week and at the moment, all three of them have positive reviews. Unfortunately, that’s the end of the good news. Ford v Ferrari is the best new release of the week and should have no trouble earning first place on the box office. On the other hand, the film cost nearly $100 million to make, so it will likely struggle to break even any time soon. Charlie’s Angels cost half as much to make, but it is also on track to open with about half as much. The Good Liar is the smallest of the three new films and, with a more mature target audience, it is unlikely to have a big opening. Worse still, it is likely all three new releases this week will earn less than Fantastic Beasts: The Crimes of Grindelwald opened with this weekend last year. 2019 is going to take another beating in the year-over-year competition and it might even be worse than last weekend was. More...

International Box Office: Terminator Tops Production Budget Worldwide

November 14th, 2019

Terminator: Dark Fate

Terminator: Dark Fate will lose money. That is almost guaranteed at this point. However, it did manage to top its production budget at the worldwide box office in just its third weekend of release, meaning it is going to save face, mostly. The film earned $29.9 million in 53 markets over the weekend for totals of $150.9 million internationally and $199.4 million worldwide. This includes a $6.0 million opening in Japan; however, the film opened on Friday and not Saturday, which is the usual opening day in that market. That was still enough for first place over the two-day weekend and more than it made here, given the relative size of the two markets. It also opened in first place in Taiwan with $1.1 million over the three-day weekend and $1.4 million including Thursday. The film’s biggest market remains China, where the film earned $7.21 million over the weekend for a two-week total of $45.85 million. More...

Weekend Wrap-Up: The Box Office is in a Deep Sleep

November 12th, 2019

Midway

It was a weekend to forget with the four new releases earning significantly less than The Grinch opened with last year. Still, the four new releases took the to four spots, meaning there were no powerful holdovers to make up the difference. Midway was the best of the bunch, while Playing with Fire was the biggest positive surprise. Unfortunately, Doctor Sleep missed expectations by a larger margin than those two films beat our predictions, so the good news was drowned out by the bad. Overall, the box office was 5.9% higher than last weekend at $121 million. This is not a reason to celebrate, as last weekend was arguably Halloween weekend, which is one of the worst weekends of the year. More importantly, the weekend was behind the same weekend last year by 28%. 2019 is now behind 2018’s pace by 5.9% or $580 million at $9.32 billion to $9.90 billion. However, and this is important, as bad as 2019 has been doing, we are still ahead of 2017’s pace, both in terms of raw dollars and ticket sales, so there’s no need to panic. While we would prefer to set records every year, being the second best year at the box office is still worth celebrating. More...

Weekend Estimates: Midway Overcomes the Odds to Come out on Top

November 10th, 2019

Midway

Midway wasn’t supposed to be a major hit, and it won’t be, but, sadly for all the other new films, it is opening in first place at the box office. In fact, its weekend estimate is $17.49 million, which is less than 10% above our prediction, but it was able to earn first place with relative ease. The film only managed mixed reviews, but it did earn an A-rating from CinemaScore. Additionally, there are holidays coming up, so it could have surprisingly long legs. The film also opened in China with $4.48 million. It’s hard to use this result as a guide for other markets, as there haven’t been enough American-centric war movies released in China to compare against. More...

Friday Estimates: Midway is the High Point of the Weekend

November 9th, 2019

Midway

Midway made a surprisingly strong debut to earn first place on Friday with an estimated $6.34 million. Its reviews have improved and are currently 40% positive. Granted, this isn’t great, or even merely good, but it is also not so bad that it will be a major drag at the box office. Furthermore, the film scored a solid A-rating from CinemaScore, indicating its target audience loved the movie, especially compared to critics. Add in a more mature target audience and the film should have solid legs, helping it earn close to $18 million during its opening weekend. Granted, the film cost $50 million to make, so it will still need help internationally and on the home market to break even after a start like this, but this is still much better than most people were expecting. More...

Thursday Previews: Doctor Sleep Hits the Snooze Alarm

November 8th, 2019

Doctor Sleep

It looks like it could be a slow weekend at the box office. Doctor Sleep only managed $1.5 million during its previews, which is lower than anticipated. There are some reasons to be optimistic. Firstly, it does have the best reviews of the four new releases and this is technically a long weekend, as Veteran's Day is on Monday. On the other hand, I was expecting closer to $2 million during its previews. More...

Can Doctor Sleep Wake Up the Box Office?

November 7th, 2019

Doctor Sleep

It is not a banner week for stellar new releases. Doctor Sleep is earning good reviews, but not great reviews. Sadly, it is award-worthy compared to most of the other new releases. Last Christmas is earning mixed reviews, but that’s to be expected for a romantic comedy. The less said about Midway or Playing with Fire’s reviews, the better. This weekend last year, The Grinch opened with $67 million, which is likely more than all four new films will open with this year. In fact, last year’s number two film, Bohemian Rhapsody, will likely earn more than any one film will earn this year. 2019 is going to take a beating in the year-over-year competition. More...

2019 Preview: November

November 1st, 2019

Frozen II

Joker single-handedly saved October. Had the film merely matched expectations, then the month would had suffered a major loss in the year-over-year competition. We sill lost a little ground, but not so much that we will look to October as the reason 2019 missed last year’s pace. As for November, we have some potential monster hits with Frozen II leading the way. If that film doesn’t earn at least $1 billion worldwide, I will be shocked. Additionally, every week has at least one movie coming out that has a somewhat realistic shot at $100 million, although not all of them will get there. Unfortunately, last November was much better, with five films that topped $100 million, including three that earned more than $200 million. I think 2019 will be better at the top, but it just won’t have the depth to keep pace with last year. More...

Midway Trailer

June 28th, 2019

Action movie based on real-life events, with an ensemble cast led by Ed Skrein, Patrick Wilson, and Mandy Moore, directed by Roland Emmerich opens November 8 ... Full Movie Details. More...

Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.

Weekend Box Office Performance

DateRankGross% ChangeScreensPer ScreenTotal GrossWeek
2019/11/29 5 $635,558   0     $686,736 1
2019/12/06 8 $234,481 -63% 0     $1,095,378 2
2019/12/13 10 $97,107 -59% 0     $1,253,808 3

Box Office Summary Per Territory

Territory Release
Date
Opening
Weekend
Opening
Weekend
Screens
Maximum
Screens
Theatrical
Engagements
Total
Box Office
Report
Date
Argentina 11/29/2019 $66,337 170 170 370 $176,629 1/3/2020
Australia 1/31/2020 $768,478 282 282 1307 $2,584,139 11/20/2020
Brazil 11/22/2019 $221,252 422 422 422 $226,907 12/1/2019
Bulgaria 11/15/2019 $17,693 0 0 0 $59,385 12/18/2019
China 11/7/2019 $16,790,000 77941 77941 140718 $42,082,052 1/10/2020
Czech Republic 11/8/2019 $112,971 114 114 237 $294,616 10/19/2022
France 11/7/2019 $1,000,000 0 408 1040 $3,228,398 12/7/2019
Germany 11/8/2019 $384,132 0 0 0 $384,132 11/17/2019
Hong Kong 11/8/2019 $62,630 0 0 0 $942,783 1/5/2020
Italy 11/27/2019 $635,558 0 6 6 $1,269,303 10/19/2022
Japan 9/11/2020 $766,547 0 0 0 $1,076,490 9/18/2020
Lithuania 11/8/2019 $56,963 14 14 37 $129,188 12/4/2019
Mexico 11/15/2019 $520,698 0 0 0 $1,361,101 10/19/2022
Middle East Region 11/8/2019 $906,738 0 0 0 $906,738 11/13/2019
Netherlands 11/8/2019 $498,942 112 112 626 $2,106,080 10/19/2022
New Zealand 11/7/2019 $7,196 8 73 450 $356,246 4/22/2024
North America 11/8/2019 $17,897,419 3,242 3,242 15,920 $56,846,802
Portugal 11/8/2019 $157,397 78 78 270 $385,016 10/19/2022
Romania 11/15/2019 $80,118 50 50 182 $222,125 1/22/2020
Russia (CIS) 11/14/2019 $400,515 1061 1061 3195 $709,955 10/19/2022
Slovakia 11/15/2019 $41,985 59 59 108 $98,638 12/18/2019
Slovenia 11/8/2019 $11,509 24 24 84 $50,896 4/6/2020
South Korea 12/31/2019 $2,325,781 842 842 1877 $7,363,663 6/17/2021
Spain 12/6/2019 $579,825 267 275 801 $1,322,088 1/9/2020
Turkey 11/29/2019 $75,456 239 239 419 $158,880 10/19/2022
United Kingdom 11/8/2019 $965,828 496 496 1195 $2,445,110 11/27/2019
 
Worldwide Total$126,787,360 4/22/2024

Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.

Lead Ensemble Members

Ed Skrein Dick Best
Patrick Wilson Edwin Layton
Luke Evans Commander Wade McClusky
Aaron Eckhart Lieutenant Colonel Jimmy Doolittle
Nick Jonas Bruno Gaido
Mandy Moore Anne Best
Dennis Quaid William “Bull” Halsey
Woody Harrelson Admiral Chester W. Nimitz
Jun Kunimura Chuichi Nagumo

Supporting Cast

Etsushi Toyokawa Isoroku Yamamoto
Tadanobu Asano Tamon Yamaguchi
Jake Weber Rear Admiral Raymond Spruance
Luke Kleintank Lieutenant Clarence Earle Dickinson
Darren Criss Eugene Lindsey
Keean Johnson James Murray
Rachael Perrell Fosket Dagne Layton
Alexander Ludwig Roy Pearce
Brennan Brown Joseph Rochefort
Geoffrey Blake John Ford
Kenny Leu Zhu Xuesan
Jake Manley Willie West
Mark Rolston Ernest King
Eric Davis Miles Browning
Brandon Sklenar George “Tex” Gay
Nobuya Shimamoto Kaku Tomeo
David Hewlett Husband Kimmel
Peter Shinkoda Genda Minoru
James Carpinello William Brockman
Tim Beckmann Bernard Rawlings
Sarah Halford Marie Pearce
Cameron Brodeur Sully Brown
Hiromoto Ida Prime Minister Tojo
Hiroaki Shintani Emperor Hirohito
Russell Lewis Frank O’Flaherty
Mikael Conde Bill Miller
Madison Roukema Barbara Best
Christie Brooke Millicent McClusky
Dustin Geiger Paul Crosley
Jason Lee Hoy Pat Rooney
Ellen Dubin Admiral King Secretary
Jason New Marine Captain (Midway)
Dean Schaller Jack Mackenzie, Jr.
Jacob Blair Hank Potter
Kayo Yasuhara Geisha
Rudolph Wallstrum Petty Officer (Pacific HQ)
Matthew MacCaull Staff Officer (Nimitz)
Phil Wang Chinese Major
Johan Denora Radioman #1 (Enterprise SC)
Nico De Castris Radioman #2 (Enterprise SC)
Alexandre Dubois Radar Officer (Enterprise)
Tyler Elliot Burke Radar Officer (Enterprise)
Raphael Grosz-Harvey Lt. JG (Hospital)
Trevor Danielson Talker
Agostino Michael Cimino* Buzz Davis (Sonar Tech Nautilus)
Takeshi Kurokawa Imperial Guardsman
Ryuta Kato Japanese Junior Guardsman
Garret T. Sato Japanese Officer (Prison)
Neil Girvan Navy Yard Inspector
Ellis Arch Lofton Henderson
Robert Crooks McClusky’s Radioman
Sean Colby Gay’s Radioman
Kasey Mazak Signal Officer (Akagi)
Ryo Hayashida Deck Officer (Akagi)
Leonardo Boudreau Passing Sailor
Tony Christopher SBD Pilot (Enterprise)
Yuta Takenaka Staff Officer (Yamato)
Tatsuya Shirato Flag Officer (Yamato)
Tyler Hall William “Slim” Townsend
Kyle Bougeno Smoking Sailor
David Dacosta Breathless Ensign (Enterprise)
Kazuki Gonzalez-Adachi Hiryu Helmsman
Reyn Halford Torpedo Room Chief
Toyoaki Ito Leung Japanese Boy (10 Years Old)
Halta Nonen Japanese Boy (6 Years Old)
Adrian Spencer Chief Medic (Enterprise)
James Hicks Edwin Kroeger
Sebastian Pigott Petty Officer #2
Simon Pelletier-Gilbert Yorktown Spotter
Philippe Verville Doolittle’s Bombardier
Shigeru Yabuta Japanese Duck Netting Officer
Seunghwan Min Zero Pilots Squadron Leader
Christopher Tapia Hiryu Pointer
Sangwon Jun Hiryu Talker
Motoo Taira Akagi Spotter
Ana Maria Lombo Ballroom Singer

For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.

Production and Technical Credits

Roland Emmerich Director
Wes Tooke Screenwriter
Roland Emmerich Producer
Harald Kloser Producer
Mark Gordon Executive Producer
Marco Shepherd Executive Producer
Wes Tooke Executive Producer
Peter Luo Executive Producer
Han Sanping Executive Producer
Ke Liming Executive Producer
Jie Yu Executive Producer
Yu Dong Executive Producer
Jeffrey Chan Executive Producer
Brent O’Connor Executive Producer
Carsten Lorenz Executive Producer
Ute Emmerich Executive Producer
Stuart Ford Executive Producer
Alastair Burlingham Executive Producer
Gary Raskin Executive Producer
John Paul Pettinato Co-Producer
Robby Baumgartner Director of Photography
Kirk M. Petruccelli Production Designer
Adam Wolfe Editor
Harald Kloser Composer
Thomas Wander Composer
Mario Davignon Costume Designer
Peter G. Travers Visual Effects Supervisor
Tricia Mulgrew Visual Effects Producer
Stephan Trojansky Co-Producer
Thilo Kuther Co-Producer
Perry Kain Co-Producer
John Papsidera Casting Director
Andrea Kenyon Casting Director
Randi Wells Casting Director
Brent O’Connor Unit Production Manager
Bethan Mowat First Assistant Director
Gilles Perreault Unit Production Manager
Carsten Lorenz Unit Production Manager
Esteban Sanchez Second Assistant Director
Wainani Young Tomich Second Assistant Director
John A. Amicarella Associate Producer
John A. Amicarella Post-Production Supervisor
Ryan Stevens Harris Additional Editor
Paul O’Bryan Additional Editor
Thomas Schobel Additional Music
Greg P. Russell Re-recording Mixer
Tom Marks Re-recording Mixer
Patrick Kerton Stunt Coordinator
Isabelle Guay Supervising Art Director
Carolyne De Bellefeuille Art Director
Jean-Pierre Paquet Art Director
Robert Parle Art Director
Claude Goyette Set Designer
Chris Lewis Set Designer
Frederic Amblard Set Designer
Gaby Miegeville-Little Set Designer
Jean Gagnon Set Designer
Justin Neenan Set Designer
Renaud Chamberland Set Designer
Simon Theberge Set Designer
Radia Slaimi Set Designer
Carolyn Loucks Set Decorator
Lorette LeBlanc Script Supervisor
Louis Marion Sound Mixer
Paul O’Bryan First Assistant Editor
Ryan Stevens Harris Assistant Editor
Peter Bawiec Supervising Sound Editor
Jan Bezouska Sound Effects Editor
Matt Yocum Sound Effects Editor
Greg P. Russell Sound Effects Editor
Taylor Westerfield Dialogue Editor
Tom Marks Dialogue Editor
Kacper Habisiak Supervising Foley Editor
Marcin Kasiński Supervising Foley Editor
Filip Stefanowski Foley Mixer
Natalia Lubowiecka Foley Editor
Michal Wilczewski Foley Editor
Thomas Schobel Music Editor
Bernd Mazagg Score Recordist
Felix Lariviere-Charron Hairstylist
Michele St-Arnaud Location Manager
Guillaume Murray Special Effects Supervisor

The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.