The Devil Wears Prada 2 delivers the biggest opening weekend box office result in a year.
Twenty years on from the release of the original film, The Devil Wears Prada 2 opened in cinemas last week, delivering a runaway success at the box office.
Across its Wednesday to Sunday opening weekend (including preview screenings), the film earned $13.1 million at the Australian box office, making it the biggest opening weekend for a film in the last twelve months, and the second biggest comedy opening of all time in the market, behind 2023’s Barbie.
The strong box office delivery was also driven by the high demand for premium cinema experiences.
The film recorded 547,000 admissions, reflecting strong appeal across both original fans and new audiences. It delivered 62% of its total audience from the hard-to-reach P25–54 demographic and a 69% female skew.
The opening weekend result of The Devil Wears Prada 2 builds on a strong start to the year, with multiple record-breaking openings recorded across the past four months, as well as the strongest Easter period since 2019.
Overall, audience admissions are up +13% year-on-year, driven by growth across all key audience demographics, including P14–39, NEOs, Family and CALD.
Guy Burbidge, Managing Director of Val Morgan Cinema, said the film’s opening weekend is a clear reflection of the broader strength of cinema in Australia. “The Devil Wears Prada 2 is another huge cultural moment – a great example of how nostalgic, quality content pulls in the big audiences.”
“We’ve seen a run of record-breaking openings, the strongest Easter period in six years, and now continued growth across both box office and admissions year-on-year. That performance is being driven by broad audience growth across all key segments.”
“Combining this with the Cost of Dull research which highlighted the benefits for brands in using Cinema vs low attention formats reinforces why now is such a powerful time for brands to be on the big screen. The months ahead will only build on this, with a strong slate of quality content and expanded opportunities beyond the screen”.
Source: CineTAM 2026, Numero.