Disney’s “The Mandalorian and Grogu” initiated its theatrical run over the Memorial Day holiday weekend, securing $100 million at the domestic box office, slightly below Sunday’s $102 million estimates for the four-day frame, which included $81 million over the traditional weekend. The film also garnered $63 million from international markets, culminating in a global debut of $163 million over the four-day period. This “Star Wars” spinoff is particularly significant as the first “Star Wars” movie released in seven years, following 2019’s “The Rise of Skywalker.” After years of Lucasfilm’s inability to launch new theatrical films, the company redirected its focus to small-screen Disney+ shows such as “The Book of Boba Fett,” “Ahsoka,” “Andor,” and “Skeleton Crew.”

The film’s performance raises questions among box office analysts about whether “Star Wars” remains a robust cinematic property, with its second weekend anticipated to be a better indicator of its appeal beyond the series’ dedicated fanbase. Its opening figures are roughly on par with Lucasfilm’s previous spinoff attempt, “Solo: A Star Wars Story,” which also debuted over Memorial Day in 2018, opening to $103 million through the four-day holiday ($84 million over the traditional weekend) and $168 million globally, unadjusted for inflation. “Solo” ultimately faced disaster, concluding its theatrical run with only $392 million globally and becoming the first “Star Wars” movie to incur losses, largely due to a gargantuan $300 million budget, lackluster reviews, and tepid word-of-mouth.

In contrast, “The Mandalorian and Grogu” was produced for a more moderate $165 million and appears to benefit from significantly better word-of-mouth from both critics and audiences. Directed by Jon Favreau, the film revolves around Pedro Pascal’s Din Djarin and his endearing green companion as they navigate a galaxy recovering from the fall of the evil Empire. However, the film will require sustained appeal to demonstrate its relevance to younger audiences.

Meanwhile, Focus Features’ horror sensation “Obsession” claimed second place, astonishingly enjoying a larger-than-expected sophomore outing. The film amassed $23.9 million over the traditional weekend and $30.3 million through Monday, an unprecedented 39% increase from its strong debut—a highly uncommon occurrence for the horror genre, which is notorious for sharp declines post-opening. Produced for less than $1 million, “Obsession” has already generated a remarkable $60.7 million in North America and $75 million worldwide, cementing its position as one of the year’s most profitable releases. YouTube breakout Curry Barker directed this well-reviewed and positively received film, which depicts a hopeless romantic making a dark Faustian bargain for love.

Outside the top five, two other newcomers made their debut. Paramount’s gruesome thriller “Passenger” opened at No. 6 with $10.5 million from Friday through Monday, including $8.7 million over the traditional weekend. It added $4.8 million overseas, bringing its worldwide total to $13.5 million. The R-rated film, which follows a young couple relentlessly stalked by a demonic entity, received mixed reviews (42% on Rotten Tomatoes) and a “B-” CinemaScore grade. Its production cost was $15 million.

Neon’s crime comedy “I Love Boosters,” directed by Boots Riley (“Sorry to Bother You”), debuted in eighth place with $4.7 million through the four-day frame, including $3.8 million over the traditional weekend. The film features professional shoplifters, portrayed by Keke Palmer, Naomi Ackie, and Taylour Paige, who target a cutthroat fashion mogul (Demi Moore). Critics generally praised “Boosters,” giving it a 92% on Rotten Tomatoes, while audiences offered a mixed “B” grade on CinemaScore. It was produced with a $20 million budget.