Six years ago, Muslim Kids TV’s poor web animation sparked the idea for Time Hoppers: Silk Road, the first theatrically released animated feature created by and for the Muslim community.
The film opened in more than 660 theaters across the U.S. on February 7, marking a milestone for family entertainment and grassroots production, proving that independent animation can still attract audiences at a time when the genre’s theatrical releases face significant challenges.
This animated feature tells the story of four gifted children from the year 2050 who discover the power of time travel and must protect history’s greatest scientists along the ancient Silk Road from an evil alchemist who threatens the future of modern science.
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 a Canadian production grant. Within three months, the number of downloads exceeded 100,000, demonstrating 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’s what we were missing and we thought there was a real market opportunity.”
Despite the industry’s trend away from theatrical releases, filmmakers believed that audiences craved a collaborative viewing experience. Early social media involvement reinforced that instinct, and requests poured in from communities around the world.
Rather than relying on celebrity endorsements, this marketing strategy focused on what Milo calls “community authenticity over celebrity.” Community leaders, educators, and religious scholars were cast in voice roles, including Dean Hafsa. This trust-based approach has extended to a national network of volunteer “local champions” who use promotional toolkits to drive ticket sales in their communities.
Shanna Miller, vice president of marketing for distribution company Fathom Entertainment, recognized the potential of this model early on. Fathom, which handles about 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 for me,” Miller said. “The content was created by the Muslim community, for the Muslim community, and felt authentic while still being accessible to a wider audience.”
Fathom’s partnership with Milo Productions proved critical to the film’s release. Milo provided data on community demographics and priority markets, and Fathom leveraged its relationships with exhibitors to expand bookings as demand increased, sometimes adding showtimes within hours.
“I emailed Fathom and within an hour my ticket was released,” Milo said.
It was originally scheduled to be released in 516 theaters from February 7th to 8th, but due to demand from promoters, the number of theaters it was shown in quickly exceeded 660, and advance sales exceeded expectations. More than 35,000 tickets have been sold, with revenue reaching nearly $500,000, with the majority of purchases still expected to be made in the final days before release.
“Since Monday, pre-order sales are up over 35%,” Miller said. “And historically, 70% of tickets have been sold within the last 72 to 48 hours.”
For a one-day event built around new IP and an underserved audience, the film’s performance is remarkable. Its “edutainment” approach is designed to stimulate curiosity rather than provide formal lessons, and is supported by accompanying workbooks and coloring books developed with historians.
“Our goal is conspiracy,” Milo said. “We want kids to ask questions and want to know more.” Beyond the box office numbers, this release reflects the potential for original stories from underrepresented communities to connect with audiences, even as Hollywood relies heavily on established IP.
“There’s going to be an underserved audience,” Milo said. “They will show up looking for an authentic voice to represent them.” While the film is rooted in Muslim history and culture, its broader themes of education, curiosity and pride in tradition encourage the community to welcome a broader audience. Fathom supported its outreach through partnerships with exhibitors, including targeted trailer placement and educational partnerships with school groups.
This model has already been translated abroad. In Canada, Landmark Cinema bookings increased from 15 locations to nearly 40 locations, covering more than 90% of box office locations. “Time Hoppers: Silk Road” arrives in theaters amid a growing appetite for animation and stories that break the mold of traditional studios. For Milo and Miller, the payoff is clear. Audiences are hungry for expression, and if approached authentically they can be powerful.
“This is real support,” Miller said. “People are excited to see themselves on screen, and that’s a very powerful thing.”
