THE KING OF KINGS Breaks Records, Outgrosses PARASITE with $54.7 Million Haul Since April 11 Release

Jephthah Nana Adjei Osei - Mensah
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THE KING OF KINGS Breaks Records, Outgrosses PARASITE with $54.7 Million Haul Since April 11 Release
King of Kings
Written By : Ekow Adjei Mensah


Korea’s Mofac Studio, led by CEO and director Jang Seong-ho, has made history with THE KING OF KINGS, an animated faith-based film that has earned $54.7 million since its April 11, 2025, release, surpassing the U.S. box office record for a Korean film previously set by Bong Joon-ho’s PARASITE at $53.8 million. The film, distributed by Angel Studios, follows the life of Jesus Christ, voiced by Oscar Isaac, from His birth to resurrection, drawing inspiration from Charles Dickens’ THE LIFE OF OUR LORD.

Jang, a veteran VFX supervisor turned director, crafted the film over a decade, blending 3D animation with painterly backgrounds inspired by classical religious art to create an accessible narrative for younger audiences. The movie’s strong performance, especially during the Easter holiday, reflects a growing appetite for faith-based content, with its opening weekend raking in $19 million, landing at No. 2 on the U.S. box office charts.

The film boasts an impressive voice cast, including Pierce Brosnan as Pontius Pilate, Kenneth Branagh as Charles Dickens, Uma Thurman as Catherine Dickens, and Forest Whitaker as the Apostle Peter, alongside Isaac’s portrayal of Jesus. This A-list ensemble, secured through Disney veteran casting director Jamie Thomason, has been a draw for audiences, with Mark Hamill, who voices King Herod, describing the film as “a revelation” for children. 

The narrative frames Dickens telling the story of Christ to his son Walter, who imagines himself witnessing key events like the Nativity and Resurrection, making the story relatable for younger viewers. The film’s $19 million opening also shattered the record for the highest-grossing debut of a faith-based animated film, eclipsing DreamWorks’ THE PRINCE OF EGYPT, which earned $14.5 million in 1998, a proof of its appeal among faith-driven audiences and Angel Studios’ effective distribution strategy.

However, the film’s success raises questions about the broader implications for Korean cinema and faith-based storytelling in a global market. While THE KING OF KINGS has been lauded for its cultural crossover, evidenced by its expansion to 50 countries and plans for 120 by year’s end.

The South Korean animation industry, often struggles with funding and domestic recognition, making Mofac’s leap from a VFX house to a box office record-breaker a rare feat that may not easily be replicated. As TTHE KING OF KINGS continues to resonate globally, its record-breaking run challenges Hollywood’s dominance while spotlighting the delicate balance between commercial success and cultural authenticity in faith-based narratives.

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