
Director Patrick Wally
Courtesy of WyFilm
Who will be the fairest of them all at a very crowded Mother’s Day box office?
While most tracking services are betting on the violent video game adaptation Mortal Kombat II to prevail and top the North American chart with $40 million or more — one research firm is even suggesting $45 million to $49 million — New Line and parent company Warner Bros. are predicting a far more conservative opening in the $35 million range for a worldwide launch anywhere between $65 million and $80 million.
In 2021, Mortal Kombat was by all accounts a resounding hit on streaming when launching simultaneously in theaters and on HBO Max due to the ongoing pandemic and a badly lagging box office, where the martial arts movie debuted to $23 million on its way to topping out at a tepid $42 million domestically and $84.4 million globally.
While the actual number of streaming views was never revealed, a sequel came together relatively quickly, with Simon McQuoid returning to helm from a script by Jeremy Slater and Karl Urban joining the franchise as fan favorite character Johnny Cage, a washed up ’90s action star called to take part in a tournament that will determine the fate of Earthrealm.
New Line and Warners have good reason to play it safe in its estimates, since the Mortal Kombat sequel could find itself in a close race with holdover The Devil Wears Prada 2, which is fast on its way to becoming the biggest female-led film since Warner Bros.’ Barbie in 2023 after kicking off the summer box office last weekend with a domestic debut of $77.2 million domestically and $234 million globally.
Prada 2 has been enjoying brisk weekday business — it certainly didn’t hurt that the Met Gala took place May 4, the Monday following its opening — and should clear the $300 million mark in worldwide ticket sales before Mother’s Day weekend gets underway. By the end of Sunday, May 10, which is Mother’s Day, the 20th Century and Disney sequel should have $450 million or more in the bank as it prepares to cross $500 million.
Both Mortal Kombat and Prada hover in the 77 percent range in regard to their Rotten Tomatoes critics’ score. (THR‘s review isn’t so keen on Mortal Kombat II but concedes it “determinedly caters to its devoted fans, who don’t seem to mind that the word ‘combat’ isn’t really spelled with a k.”
Lionsgate’s Michael Jackson biopic, which is heading into its third weekend, also remains a formidable contender, particularly since kids are the film’s biggest fans and have hence turned Michael into a family pic that could earn another $30 million in North America alone this weekend.
Michael has already grossed north of $400 million at the worldwide box office to rank as one of the top-grossing music biopics of all time, not adjusted for inflation. The big is Bohemian Rhapsody, which sports a global total of $911 million. While Michael should soon overtake the $216 million earned by the Freddie Mercury biopic domestically, it is unlikely to match its worldwide tally.
Speaking of families, Amazon MGM’s critically adored The Sheep Detectives is tracking to open in the $12 million to $15 million range domestically. The comedy-mystery is based on the 2005 bestselling German novel Three Bags Full, and follows a flock of talking sheep who are determined to solve the suspicious death of their beloved shepherd, voiced by Hugh Jackman, who had read them detective novels on a regular basis despite having no idea they could understand him.
Sheep Detectives currently sports a coveted 96 percent critics’ score on Rotten Tomatoes, and is produced by Working Title and Three Strange Angels Productions, with Phil Lord and Christopher Miller listed among the executive producers.
Lord and Miller, directors of 2026 box office hit Project Hail Mary, aren’t the only A-list filmmakers with new projects on the Mother’s Day menu.
Paramount is opening James Cameron’s new concert documentary, Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D), in theaters across the U.S. Tracking has the film opening anywhere from $6 million to $9 million. Cameron pioneered special 3D cameras designed to make moviegoers feel as if they were part of a live experience that he used when filming Eilish.
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EXCLUSIVE: GK Barry agency HLD Talent has signed content creator and By Babes co-founder Heather Bowling.
The social media star, business owner and neurodiversity advocate is joining up with the likes of Barry, Mariam Musa and Shakira Khan at the London-based HLD, which is lead by creators agent Hannah Holland.
She is known as a the co-founder of By Babes, a UK-based and community-driven beauty and cosmetics brand, and creates much of her content around the company’s focus and products.
HLD called her “bold, ambitious and completely herself” and noted that she has a “built an incredibly loyal and highly engaged audience who have grown with her and who are invested in far more than just the content she creates.”
Bowling appeared on Season 5 of Footasylum’s YouTube series Locked In and made an appearance on Barry’s podcast Saving Grace.
“As she enter this next chapter, we’ll be working together to build on everything she’s already created, while opening up new opportunities across premium fashion and beauty, entrepreneurship, media, presenting and beyond,” said HLD in a statement.
Bowling was previously with Insanity.
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EXCLUSIVE: David Barron, the British film producer with credits on six Harry Potter films, is entering the generative artificial intelligence space.
Barron has agreed to produce an AI adaptation of Jack London’s 1903 novel The Call of the Wild, which is written and directed by Simon Rumley (Crushed, Red White & Blue).
The film will be generated at nmatic, with CGI and traditional VFX helping deliver more complex scenes. Filmmakers are billing it as the first faithful adaptation of London’s novel because it will be made from Buck’s subjective experience.
“London’s canvass is so epic, the Alaskan geography so gruelling, the dog and wolf fights so visceral that a faithful cinematic adaptation has hitherto been logistically and financially impossible,” said Barron. ”But technology has finally caught up with London’s vision, and we believe now is the time to do justice.”
The Call of the Wild tells the story of a pampered St. Bernard dog, who is torn from his life of privilege in California’s Santa Clara Valley and is sold into the brutal world of the 1890s Klondike Gold Rush, where he discovers the wild instinct that has always lurked within.
The film has been adapted for the screen several times, including a 2020 Michael Green film starring Harrison Ford.
David Barron, Mark Sandell (A Liar’s Autobiography) and Nick Price produce. Chris Catchpole, Carl Lyttle, and Toby White head up prompting and technical at nmatic.
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EXCLUSIVE: Lightdox has acquired world sales rights to the documentary My Home of Wind and Sand ahead of its world premiere Tuesday at the Zurich Film Festival.
Filmmaker Patrick Wally spent over a decade on his film, a portrait of women’s rights, human rights and climate activist Najla Mohamed Lamin, who was born in a Sahrawi refugee camp in Algeria. Lamin has led a peaceful campaign supporting the right of Western Sahara to self-determination, a dream of Sahrawi refugees that has been frustrated for more than half a century.
Nobel Peace Prize nominee Greta Thunberg is expected to attend Tuesday’s world premiere and will participate in a conversation afterwards with Lamin. Thunberg visited the Sahrawi refugee camps last year, where she and Lamin conducted a workshop on climate change.

Director Patrick Wally
Courtesy of WyFilm
“Told through conversations with the filmmaker – who gradually becomes visible inside the story – the documentary refuses to reduce Najla to a symbol of a geopolitical conflict,” notes a synopsis. “Western Sahara is experienced through one person living its consequences in real time. Najla addresses international institutions, builds practical spaces for women and children, raises her family and continues to argue for peaceful resistance even as a generation born in exile grows older without a political resolution.”
The synopsis continues, “When armed conflict resumes after decades of ceasefire, the convictions that have shaped Najla’s public life are tested. The film follows her as she asks what pacifism, patience and agency can mean when history seems immovable – and whether one person can still create change inside circumstances that appear impossible.”

Najla Mohamed Lamin at the dunes near the Sahrawi refugee camp of Smara.
Courtesy of WyFIlm
Anna Berthollet, CEO of Lightdox, commented, “Najla has lived her entire life with an unresolved conflict. Yet Patrick’s film is not a geopolitical story; it is an intimate portrait of how she chooses to live, raise her children and build a future for her community. He spent eleven years following her journey and bringing her story and mission to the screen. At a time when Western Sahara is once again receiving international attention, we believe it is important that Najla’s perspective is part of that conversation. We feel very humbled to have been entrusted with bringing Patrick and Najla’s deeply personal story to audiences around the world.”

The border wall berm and Moroccan military base separating the Moroccan occupied territory from the
Polisario controlled territory of Western Sahara.
Courtesy of WyFilm
The unresolved status of Western Sahara has been largely ignored in the U.S. and much of the West, but it has kept the Sahrawi people in terrible limbo. Spain ruled the territory as its colonial possession for the better part of a hundred years, but after it ceded claims in the mid-1970s, hopes for the territory to determine its own future were dashed when Morocco took control of much of Western Sahara. The Polisario Front, representing the Indigenous Sahrawi people, seeks self-determination and is supported by Algeria (where the refugee camps are located). The United Nations officially designates Western Sahara as a “Non-Self-Governing Territory.”
In a director’s statement, Wally said, “When I met Najla ten years ago, I knew this film needed to be made. At the time I had never heard of the issue of Western Sahara. I thought of myself as reasonably informed about the struggles shaping the world, yet I knew nothing about more than 200,000 Sahrawis living for generations in refugee camps in the Algerian desert, established after the war and displacement of 1975. That absence in my own awareness shocked me.
“What struck me first, however, was not the conflict in the abstract but Najla herself. I was surprised by my own assumptions. Here was a woman raised in a refugee camp who was exceptionally articulate, politically precise and full of a vision for the future. She spoke about peaceful resistance, about a generation born in the camps, and about the endurance required to believe in a bright future when nobody outside seems able to see it.”

An aerial view of the Sahrawi refugee camp Smara, in the Algerian desert, near Tindouf.
Courtesy of WyFilm
Along with directing, Wally serves as the film’s cinematographer. The film is produced by Shirin Hooshmandi, Najla Mohamed Lamin, and Patrick Wally. Anna Kirst edited the film, with additional editing by Daniel Rutz. The music is by Ahmed Zain.
In addition to Tuesday’s world premiere at the Zurich Film Festival, My Home of Wind and Sand will hold public screenings on Wednesday, Thursday and Sunday.
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