Cinema admissions in Europe: national markets approach the final part of 2025 on different bases
by Elisabetta Brunella

In a sector as highly dependent on product availability as cinema exhibition, it is very difficult to make reasonably accurate predictions about the entire year based on the results of the first semester. We know that even a single particularly successful film can make the difference between a particularly good year and a bad one. It is equally well known that the Christmas season is the determining factor for many regions.

However, it's not without interest to see the performance of the first half of the year, especially in this historical period in which virtually every market in the world needs - albeit to varying degrees - to recover the cinema-goers lost to the pandemic. How did the first half of 2025 fare in Europe compared to the same period in 2024? Once again, the performance differs significantly depending on the market under consideration. The range goes from a negative trend (-28%) in Turkey to a decidedly positive one in Portugal, where admissions increased by 17%.

In Central Europe and the Balkans, the prevailing trend is positive: while Croatia boasts a flattering 16% increase, Bulgaria, Hungary, Greece, and the Slovak Republic also see audience growth, at 9%, 8%, 4%, and 3%, respectively.

Europe's five largest markets too offer a diverse picture, spanning from France's decline at 12% to the United Kingdom's growth at the same rate (12%). In the middle, we find Germany, which is down 3%, while Italy and Spain are up 2% and 5%, respectively.

Here too, it's worth remembering where these five markets stood at the end of 2024 in recovering audiences from the pre-pandemic period. Comparing 2019 to 2024, we see that on average, European cinemas* were still short over 25% of their audiences, with France and Germany performing better (-15% and -24%, respectively) than the European average, and the other three major countries - the United Kingdom, Italy, and Spain - struggling more (-28%, -29%, and -31%, respectively).

*MEDIA Salles includes 37 territories in its statistics, from Iceland to Turkey, from Portugal to Georgia.

HONG KONG: A MIXED YEAR FOR CINEMA
by Elisabetta Brunella

“The Last Dance” by Anselm Chan, released toward the end of the year, unexpectedly achieved a historic box-office result, becoming the highest-grossing Hong Kong production of all time. But it was not the only Hong Kong film to perform exceptionally well domestically in 2024: “Twilight of the Warriors: Walled In” also surpassed the HKD 100 million mark.

What matters most, however, is that the 46 “made in Hong Kong” titles released in 2024 (they were 46 in the previous year too) managed to generate record revenues, 65% higher than in 2023, and to raise their market share to 46.7% (up from 29.5% the year before). At the same time, they helped increase overall cinema attendance, which exceeded 19 million admissions, recording a growth rate of around 4%.

All good news, it would seem - but the flip side should not be overlooked: despite the rise in total admissions, the performance of Hollywood films proved to be very weak, and overall gbo fell by about 6%. Cinema profitability suffered as a result, and the number of theatres saw a sharp reduction: nine closures occurred over the course of the year but, thanks to new openings, by the end of 2024 total closures amounted to seven, with a loss of thirty screens.

That these difficulties are unlikely to fade quickly was evident at the beginning of 2025, when results during the Chinese New Year - traditionally the most favourable period for cinema-going - fell short of expectations.

The data reported in the above article is taken from the text “Behind the box office: why Hong Kong's 2024 wasn't as good as it looked” published in the FEFF 2025 catalogue. Some figures were updated thanks to the information provided to MEDIA Salles by Hong Kong Box Office Ltd.

THE CINEMA MARKET IN HONG KONG

2020*: Cinemas forced to be closed for 115 days due to Covid 19
2021*: Cinemas forced to be closed for 48 days due to Covid 19
2022*: Cinemas forced to be closed for 104 days due to Covid 19

2024 VS 2019, THE LAST PREPANDEMIC YEAR

source of data: Hong Kong Box Office Ltd
source for exchange rate information: Banca d'Italia

Recognized as a benchmark for Asian cinema in Europe, the Udine Far East Film Festival has the merit of having introduced both auteur and mainstream productions over its 27 years of existence, giving its audiences a significant overview of the offerings on offer in theatres in countries ranging from Thailand to South Korea, from Mongolia to Indonesia.

Besides being a showcase for production, the FEFF is also a barometer of the Far East film industry. In its 2025 edition, it once again gave ample space to Hong Kong films. Among them, "The Last Dance," after establishing itself in its homeland thanks to its ability to appeal to local audiences of all ages, offering a moment of escape in a rather difficult economic and social climate, won the "Silver Mulberry Audience Award” in Udine.

Films from Hong Kong at 2025 far East Film Festival

FILMS IN COMPETITION

“Cesium Fallout”, Anthony Pun, explosive disaster thriller, Hong Kong 2024, European Festival Premiere

“The Last Dance - Extended Version”, Anselm Chan, from weddings to funerals, Hong Kong 2025, European Festival Premiere - Silver Mulberry Audience Award

“Last Song for You”, Jill Leung, when a song opens your old heart, Hong Kong 2024, Italian Premiere

“Montages of a Modern Motherhood”, Oliver Chan, powerful maternal drama, Hong Kong 2024, European Premiere

“Papa”, Philip Yung, blood of my blood fatherhood drama, Hong Kong 2024, European Premiere

“The Prosecutor”, Donnie Yen, the kicks and the law, Hong Kong 2024, European Premiere

“The Way We Talk”, Adam Wong, emotional sign language youth drama, Hong Kong 2025, Italian Premiere

RETROSPECTIVE

“Green Snake”, Tsui Hark, fantasy, Hong Kong 1993/restored 2024

“Mr. Vampire”, Ricky Lau, comedy, Hong Kong 1985/restored 2018

RESTORED CLASSICS

“PTU”, Johnnie To, crime drama, Hong Kong 2003/restored 2025, European Premiere

“Shanghai Blues”, Tsui Hark, period dramedy, Hong Kong 1984/restored 2024

“The System”, Peter Yung, new wave drama, Hong Kong 1979/restored 2025, International Premiere

DOCUMENTARIES

“Four Trails”, Robin Lee, Hong Kong 2025, International Premiere

SHORTS

“Once Upon a Time There Was a Mountain”, To Chun Him, Hong Kong 2024

“Sweet, Sour, Bitter…”, Frankie Lee Chak Hang, Hong Kong 2024

 
ITALIAN SCREENS IN HONG KONG

The 3^rd edition of the festival Italian Screens 2025 ITALIAN SCREENS - New Italian Cinema Goes Abroad, will take place from 15th September to 5th October in Hong Kong, where a selection of Italian films will be offered.

The Festival opens with the Italian film “Madly/FolleMente”, directed by Paolo Genovese, who will be introducing the screening at Premiere Elements. 

The programme also includes the following films: “The great ambition/Berlinguer la grande ambizione” by Andrea Segre, “The time it takes/Il tempo che ci vuole” by Francesca Comencini, “Fuori” by Mario Martone and “Diamonds/Diamanti” by Ferzan Ozpetek, screened at Broadway Cinematheque.

The Festival is organized by the Consulate General of Italy, the Italian Cultural Institute in Hong Kong and the International Department of Cinecittà/DGCA in collaboration with Broadway Cinematheque.

To know more about Hong Kong cinema industry, have a look at DGT no. 232 and no. 194