While champagne celebrations are typical for Formula One races, the atmosphere at Apple was festive over the weekend as their high-budget film “F1” marked the studio’s first major box office success.
Starring Brad Pitt as a retired Formula One driver drawn back into the sport, “F1” earned $57 million in the U.S. and $146.3 million in its opening weekend. Despite its substantial $250 million production cost and the need for ongoing ticket sales to achieve profitability, these early figures are promising for an original adult-targeted blockbuster.
This victory is crucial for Apple. After six years in the film industry, the tech giant has faced a series of disappointing projects, including Martin Scorsese’s costly “Killers of the Flower Moon” and Ridley Scott’s “Napoleon,” both of which fell short commercially. With critically panned films like “Fly Me to the Moon” and “Argylle,” Apple has struggled to find a commercial foothold, prompting a reevaluation of its film strategy, especially regarding the 2024 release “Wolfs,” which saw a reduced theatrical rollout.
There was a growing sentiment within Apple that if a popular film like “F1” didn’t succeed, the company might pivot away from cinema entirely toward television, where hits like “Severance” and “Ted Lasso” thrive. However, insiders now believe that the momentum from “F1” may allow Apple to continue pursuing theatrical releases.
“F1 is set to be Apple’s largest box office hit by far,” notes David A. Gross of FranchiseRe. “It appears to be the successful business strategy envisioned by Apple for years.” Back in 2023, Apple committed to an annual $1 billion investment in theatrical films but has yet to deliver consistently on this promise. While “Highest 2 Lowest” is scheduled for a limited run this August, the pipeline for major releases in 2025 and 2026 looks sparse, with projects like “Mayday,” starring Ryan Reynolds, under development.
Meanwhile, discussions for a potential sequel to “F1” are reportedly underway. Moving forward, will “F1” encourage Apple to fully embrace theatrical releases, or will the lengthy production journey prompt a more cautious approach, opting for select significant projects instead?
Here are four potential directions Apple’s film strategy might take following “F1”:
