Spider-Man Opening Drives 142% Box Office Surge in Korea as Top-Three Share Hits 92.5%

South Korea’s box office grew 142.4% week-on-week in the 31st week of 2026, and the surge came almost entirely from a single title: Spider-Man: Brand New Day opened at No. 1 with ₩35.8 billion in sales and 3,384,128 admissions, all of them earned in its debut frame. The superhero tentpole’s arrival pushed the revenue share of the top three films from 83.1% to 92.5%, deepening an already lopsided market.

One Debut, Most of the Money

The scale of the Spider-Man opening dwarfed everything else on the chart. Its ₩35.8 billion take was more than five times the ₩7.0 billion earned by second-place Hope, which added 694,878 admissions and lifted its running total past 4.1 million viewers. Third-place Minions & Monsters managed ₩1.4 billion from 150,978 admissions — a figure that would have been competitive in a quieter week but registered as a distant third here.

The gap explains the concentration jump. With the top three titles now accounting for 92.5% of weekly revenue, the remaining seven films in the top ten split less than a tenth of the market between them.

No Winners Below the New Entries

Week 31 produced an unusually one-directional chart: three films entered, six fell, and not a single holdover climbed. Alongside Spider-Man, the Korean drama What Should I Have Done? debuted at No. 8 with ₩242 million and 23,766 admissions, while the children’s animation Heartsping: Legend of the Whale Jewel entered at No. 9 with ₩271 million and 23,004 admissions. Both new Korean entries opened at a fraction of the Hollywood tentpole’s scale — together they drew fewer admissions in a week than Spider-Man averaged in a single day.

Animation Keeps the Mid-Chart Afloat

Family animation continued to fill out the middle of the rankings. Moana took fourth with ₩867 million and is closing in on the one-million-admissions mark at 999,949 cumulative viewers. Toy Story 5 followed in fifth with ₩728 million, its cumulative audience now at 2.91 million — evidence of a long summer run even as its weekly numbers taper. Further down, David held sixth with ₩406 million, Nundongja took seventh with ₩266 million against a cumulative audience of 1.54 million, and Dream Animals: The Movie rounded out the top ten with ₩157 million.

Why the Concentration Number Matters

A 92.5% top-three revenue share means exhibitors are effectively programming around three films, and the health of the overall market now rides on how steeply Spider-Man’s numbers decay in its second week. The 142.4% weekly growth figure is real money for theaters, but it masks a fragile structure: every incumbent title lost ground, and the only films adding new audiences at scale were the ones that just arrived. If the tentpole’s second-week drop is severe and no comparable release follows, the same concentration that inflated this week’s total could translate into an equally sharp contraction in week 32.