Australia’s box office receipts look set to exceed AUD$1 billion in 2025, the first time that threshold has been crossed since 2019.
As reported in Screen Daily, exhibitors have credited the bump to a resurgence of teens and young adults going to cinemas.
‘We thought they had so much content in their hands that they wouldn’t come back but they’re worn out by scrolling and are finding particular pleasure in the cinema experience,’ said Benjamin Zeccola, CEO of Palace Cinemas, speaking to Screen Daily.
Australian box office billions: quick links
Australia already ranks in the global top 10 for box office markets. According to the Cinema Association Australasia (CAA), once ticket price is weighted against minimum wage, Australia is the most affordable country in the world for going to the movies.
‘There’s more positivity in the market, especially with the behaviour of Generation Alpha,’ Marc Wooldridge, founder of exhibitor Maslow Entertainment, told Screen Daily. He also cited Letterboxd, a broad release slate across genres, and the brand and marketing strength of A24 and Neon, as drivers of renewed interest.
Zeccola added that Australians demand authenticity – ‘they don’t tolerate bullshit or being condescended to’ – which he claims has given smaller, bolder films a good chance of being seen in cinemas.
Box office rebound in numbers
Screen Australia reports that 2024 saw 55.4 million cinema admissions, generating AUD$951 million. As of late September 2025, CAA maintains its forecast that 2025 will pass AUD$1 billion gross.
From 2009 to 2019, Australia’s box office surpassed AUD$1 billion each year. The record stands at AUD$1.26 billion, set in 2016.
In the first half of 2025, takings hit AUD$591.4 million, up 30 per cent from the same period in 2024 (according to Comscore). The biggest earner was Warner Bros’ The Minecraft Movie, with AUD$56.3 million, nearly double of what Disney’s Lilo & Stitch made (AUD$29 million), and well ahead of Mission: Impossible – The Final Reckoning (AUD$23.1 million).
The independent and foreign-language surge
The five strongest independent releases in 2025 (to September) are:
- Paddington in Peru – A$17.8 million
- Conclave (papal drama) – A$8.8 million
- Ne Zha 2 (China) – A$7.5 million
- We Live in Time – A$6.8 million
- Ballerina – A$4.5 million
A24, now distributing directly in Australia, has had moderate success with Babygirl ($2.3 million) and Warfare ($1.3 million).
At Palace Cinemas (211 screens, 24 sites), Conclave became its top-performing release by September. The exhibitor claimed in Screen Daily that it captures over 60 per cent of the Australian box office for European-language films. For instance, roughly 50 per cent of Jane Austen Wrecked My Life ticket sales occurred at Palace locations; likewise for nearly all tickets for Greek film Stelios.
Distributor Palace Films (which releases about 12 films yearly) has seen success with two French titles: The Count of Monte Cristo (A$1.3 million) and The Stolen Painting (A$600,000). Some foreign-language films, such as Paolo Sorrentino’s Parthenope, Boris Lojkine’s Souleymane’s Story, and Gilles Lellouche’s Beating Hearts, underperformed financially despite critical praise.
Madman Distribution recorded wins with titles including Tinā (A$3.3 million), Flow (A$1.3 million) and The Penguin Lessons (A$1.2 million). Meanwhile, increased admissions to Chinese and Indian diaspora-targeted films bolstered the foreign content share in Australia.
Hoyts reported 10 per cent of recent admissions were for foreign-language films, led by Chinese titles such as Ne Zha 2. Nine films from China and India have already grossed over AUD$1 million in Australia this year.
Local films gaining traction
The strongest Australian release of 2025 is Better Man (Roadshow), Michael Gracey’s Robbie Williams biopic, which has grossed AUD$5.3 million to date.
Other notable local releases include Bring Her Back (AUD$2.5 million), Together (AUD$1.2 million), The Correspondent and Spit (each earning over AUD$1 million). Family comedy Kangaroo (Studiocanal/Cultivator Films) opened strongly in September, earning AUD$2.6 million in its first fortnight.
Wooldridge (Maslow Entertainment) noted that Australian film distribution is high risk: it’s ’emotionally and intellectually fulfilling’, but not always financially so. His company’s slate comprises up to 80 per cent local content.
