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| 12 September 2015 | Kazakhstan | ||
| 3 March 2016 | Australia | ||
| 28 January 2016 | Brazil | ||
| 14 April 2016 | Denmark | ||
| 16 March 2016 | France | ||
| 14 April 2016 | Germany | ||
| 13 November 2015 | Great Britain | ||
| 17 March 2016 | Greece | ||
| 13 November 2015 | Ireland | ||
| 10 December 2016 | Japan | ||
| 31 March 2016 | Lithuania | ||
| 21 January 2016 | Netherlands | ||
| 25 February 2016 | New Zealand | ||
| 18 March 2016 | Poland | ||
| 17 March 2016 | Portugal | ||
| 12 September 2015 | Russia | 12+ | |
| 4 February 2016 | Spain | ||
| 26 February 2016 | USA | ||
| 12 September 2015 | Ukraine |
There are a few period inaccuracies the film-makers appear to have overlooked, which underline the difficulty of shooting in contemporary settings. In an early street sequence, set around 1974, Miss Shepherd is shown walking away from a junction where the traffic lights are of a modern design that was not introduced until 1997. In another scene with her and Alan Bennett by the convent gates, the block of flats in the background features modern double-glazed windows; in the 1970s these would have been single-glazed with timber frames or lightweight aluminium.