#1 of 3 The AI Doc: Or How I Became an Apocaloptimist (2026)
2026 · Documentary
$1.3M worldwide · 78% of the chart's total
The AI Doc: Or How I Became an Apocaloptimist (2026) is the highest-grossing documentary movie released in week 13 of 2026 (Mar 22–28), with $1.3M worldwide, ahead of Marc by Sofia (2026) at $328.1K and John Lilly and the Earth Coincidence Control Office (2026) at $21.4K. 3 documentary films released that week report a worldwide gross, $1.6M in all, 97% of it from the US & Canada.
#1 of 3 The AI Doc: Or How I Became an Apocaloptimist (2026)
2026 · Documentary
$1.3M worldwide · 78% of the chart's total
The AI Doc: Or How I Became an Apocaloptimist (2026) leads with $1.3M, 78% of the total. The top 3 together took $1.6M, almost all of what the 3 films earned. Each bar splits a film's gross into the US & Canada and the rest of the world.
Number 1
Number 2
Number 3 US & Canada (domestic) Rest of the world
Lifetime worldwide grosses in US dollars, not adjusted for inflation; domestic means the US & Canada. Films are grouped by their release date in week 13 of 2026 (Mar 22–28).
Mar 27, 2026 US and Canada: $283.3K Rest of the world: $44.8K Worldwide: $328.1K
Of the top 3, The AI Doc: Or How I Became an Apocaloptimist (2026) earned the biggest share at home (100% in the US & Canada), while Marc by Sofia (2026) made 14% of its gross abroad. Across all 3 films, $1.6M (97%) came from the US & Canada.
Week 13 releases took $1.6M. The biggest of these 9 weeks is week 13 (Mar 22–28) with $1.6M, led by The AI Doc: Or How I Became an Apocaloptimist (2026).
Of these 10 years, Week 13, 2019 earned the most: $3.7M from 5 films, led by Faustina: Love and Mercy (2019). Week 13, 2026 took $1.6M.
| Week | Films | Worldwide | Change | Biggest film |
|---|---|---|---|---|
| Week 13, 2017 Mar 26–Apr 1 5 films | 5 | $1.1M | – | Cantábrico (2017) $724.3K |
| Week 13, 2018 Mar 25–31 3 films · −94% | 3 | $69.2K | −94% | The China Hustle (2018) $48.7K |
| Week 13, 2019 Mar 24–30 5 films · +5186% | 5 | $3.7M | +5186% | Faustina: Love and Mercy (2019) $3.5M |
| Week 13, 2020 Mar 22–28 1 film · −100% | 1 | $7.9K | −100% | Steelers: The World’s First Gay Rugby Club (2020) $7.9K |
| Week 13, 2021 Mar 21–27 2 films · +43042% | 2 | $3.4M | +43042% | Tina (2021) $2.6M |
| Week 13, 2022 Mar 20–26 2 films · −89% | 2 | $369.8K | −89% | Bisping: The Michael Bisping Story (2022) $359.4K |
| Week 13, 2023 Mar 26–Apr 1 3 films · −92% | 3 | $29.2K | −92% | In Viaggio: The Travels of Pope Francis (2023) $25.4K |
| Week 13, 2024 Mar 24–30 3 films · +2982% | 3 | $899.1K | +2982% | On the Adamant (2024) $814.9K |
| Week 13, 2025 Mar 23–29 3 films · −26% | 3 | $667.8K | −26% | The Encampments (2025) $555.9K |
| Week 13, 2026 Mar 22–28 3 films · +143% | 3 | $1.6M | +143% | The AI Doc: Or How I Became an Apocaloptimist (2026) $1.3M |
29 weeks of 2026 with reported grosses; the biggest is week 42 (Oct 11–17) with $56.9M, led by You Can See Everything (2026).
The chart's numbers in short: the #1 film, the total, the billion-dollar hits and the US & Canada share, answered from the same 3 films as the chart.
The AI Doc: Or How I Became an Apocaloptimist (2026) leads with $1.3M worldwide, $1.3M of it in the US & Canada. Next come Marc by Sofia (2026) at $328.1K and John Lilly and the Earth Coincidence Control Office (2026) at $21.4K.
3 documentary films released in week 13 of 2026 (Mar 22–28) report a worldwide gross, $1.6M in all, or $540.5K per film on average.
None. The biggest, The AI Doc: Or How I Became an Apocaloptimist (2026), earned $1.3M.
Films are ranked by lifetime worldwide gross in US dollars, not adjusted for inflation, and grouped by their release date in week 13 of 2026 (Mar 22–28). The figures are the reported box office grosses in our database. A gross that looks misattributed, such as one figure shared by two unrelated films or a blockbuster total on an obscure title, is left out rather than shown as a fact.
Grosses change while films are in theaters and whenever a new figure is reported; this chart reads the latest numbers in our database, so an older film can still move after a re-release.