‘Time Hoppers: The Silk Road’ Becomes First Muslim-Made Theatrical Animated Feature, Sells 35,000 Tickets in Pre-Sales (EXCLUSIVE)

Published by Variety on Feb 05, 2026 12:38 PM

‘Time Hoppers: The Silk Road’ Becomes First Muslim-Made Theatrical Animated Feature, Sells 35,000 Tickets in Pre-Sales (EXCLUSIVE)

By Kennedy French
Variety
Feb 5, 2026 11:38am PT

Milo Productions

Six years ago, a low-quality web animation on Muslim Kids TV sparked an idea that would become “Time Hoppers: The Silk Road,” the first theatrically released animated feature made by and for the Muslim community.

The film opens Feb. 7 in over 660 U.S. theaters, marking a milestone for family entertainment and grassroots productions, demonstrating that independent animation can still draw audiences at a time when theatrical releases for the genre face significant challenges.

The animated feature follows four gifted children from the year 2050 who discover the ability to time travel and must protect history’s greatest scientists from an evil alchemist threatening the future of modern science along the ancient Silk Road.

Gabriel Milo, COO of Milo Productions, said the time-travel concept, in which children meet historical figures, first gained traction as a mobile game funded through Canadian production grants. Within three months, it surpassed 100,000 downloads, signaling strong demand for Muslim-centered content.“For the first time, Muslim children will be able to see themselves reflected on the big screen,” Milo said. “That was something we saw was missing, and we saw a real market opportunity.”

Even as the industry trends away from theatrical releases, the filmmakers believed their audience craved a communal viewing experience. Early social media engagement reinforced that instinct, with requests pouring in from communities around the world.

Rather than rely on celebrity endorsements, the marketing strategy emphasized what Milo called “community credibility over celebrity.” Community leaders, educators and religious scholars were cast in voice roles, including the character Dean Hafsa. That trust-based approach extended to a nationwide network of volunteer “local champions,” who used promotional toolkits to drive ticket sales in their regions.

Shannah Miller, vice president of marketing at distributor Fathom Entertainment, recognized the model’s potential early on. Fathom, which handles roughly 100 specialty releases each year, saw “Time Hoppers” as an opportunity to expand beyond its core faith-based audience, which accounted for nearly half of the company’s revenue last year.

“This was a first,” Miller said. “The content was created by the Muslim community for the Muslim community, and it felt authentic, while still being accessible to a broader audience.”

The partnership between Milo Productions and Fathom proved critical to the film’s rollout. Milo provided data on community demographics and priority markets, while Fathom leveraged its exhibitor relationships to expand bookings and add showtimes as demand grew — sometimes within hours.

“We’d email Fathom, and within an hour the tickets were live,” Milo said.

Originally scheduled at 516 locations for Feb. 7-8, exhibitor demand quickly pushed the release past 660 theaters, with pre-sales outpacing expectations. More than 35,000 tickets have been sold — nearly $500,000 in revenue — with the majority of purchases still expected in the final days before release.

“We’re up more than 35% in pre-sales since Monday,” Miller said. “And historically, 70% of tickets sell in the last 72 to 48 hours.”

For a one-day event built around new IP and an underserved audience, the film’s performance is notable. Its “edutainment” approach is designed to spark curiosity rather than deliver formal lessons, supported by companion workbooks and coloring books developed with historians.

“Our goal is intrigue,” Milo said. “We want kids to ask questions and want to learn more.” Beyond box office numbers, the release reflects the potential for original stories from underrepresented communities to connect with audiences, even as Hollywood relies heavily on established IP.

“Underserved audiences will show up,” Milo said. “They’ll show up for authentic voices that represent them.” While rooted in Muslim history and culture, the film’s broader themes of education, curiosity and pride in heritage have encouraged the community to welcome wider audiences. Fathom supported that outreach with targeted trailer placement and partnerships with exhibitors, including educational tie-ins for school groups.

The model is already translating overseas. In Canada, bookings grew from 15 to nearly 40 Landmark Cinemas locations, covering more than 90% of the exhibitor’s footprint. As “Time Hoppers: The Silk Road” heads into theaters, it arrives amid a rising appetite for animation and stories outside traditional studio formulas. For Milo and Miller, the takeaway is clear: there’s an audience eager for representation, and when approached authentically, they’ll turn out in force.

“This is genuine support,” Miller said. “People are excited to see themselves on screen, and that’s powerful.”