How’s Theatrical Doing?
The New Zealand International Film Festival kicked off last night with the screening of Big Girls Don’t Cry, directed by Paloma Schneiderman. A very accomplished and cinematic execution by a first-time feature filmmaker.
The programme has expanded from last year’s, with more than 130 films showing in Auckland. Prior to COVID, the number of films screening was over 200, which helps to illustrate how tough it has been for NZIFF to get back on its feet. COVID impacted the Melbourne International Film Festival just as severely.
With the changing viewer habits of audiences, along with the incredible growth of streamers and other online content channels like YouTube, it’s still proving hard to get people back into cinemas to pre-COVID levels.
The incredible success of Christopher Nolan’s The Odyssey, which has taken close to US$700 million worldwide in just two weeks, seems to fly in the face of naysayers about the health of cinema. But it is Christopher Nolan, it is an event film shot on IMAX, and it has a swirling mass of controversy around it that clearly helps its marketing, together with the US$150 million or so that Universal has spent pushing it.
A more interesting perspective is given by Olivia Wilde’s The Invite; a ‘small’ film adapted from a play. While the budget is not known, it sold to A24 at Sundance in a bidding war for US$12 million for domestic (US) rights. A guess would put it in the US$10 – 20 million budget range. The Invite is a month into its theatrical release and has made US$32 million so far. Some reviewers have said that it’s the kind of Hollywood indie drama that wasn’t getting made anymore, so it’s proving surprising.
A look at NZ’s box office gross (US$) from the year prior to COVID adds additional insight:
| Total Gross | %± LY | Releases | Average | #1 Release | |
| 2026 | $55,746,577 | – | 706 | $78,961 | Michael |
| 2025 | $88,342,903 | +0.6% | 1,341 | $65,878 | A Minecraft Movie |
| 2024 | $87,784,785 | -10.4% | 1,038 | $84,571 | Inside Out 2 |
| 2023 | $98,011,323 | +9.8% | 852 | $115,036 | Barbie |
| 2022 | $89,227,396 | +37.5% | 737 | $121,068 | Avatar: The Way of Water |
| 2021 | $64,881,995 | +0.4% | 737 | $88,035 | F9: The Fast Saga |
| 2020 | $64,630,524 | -47.6% | 750 | $86,174 | The Hobbit: An Unexpected Journey |
| 2019 | $123,284,717 | +6.7% | 656 | $187,934 | Avengers: Endgame |
You could hazard a guess that 2026 will top 2025’s take, but it’s still a long way off 2019’s number. The No. 1 release for each year, though, tells you how important it is for Hollywood blockbusters to get it right, even if more films like The Invite get made. There is concern, however, that the Hollywood takeover by tech giants is going to negatively impact theatrical.
The tech firms, who for the most part see some value in theatrical, are much more interested in generating subscribers and revenue from their digital platforms. It’s pretty much accepted, therefore, that theatrical will continue to contract, but at what pace is uncertain.
In New Zealand, theatrical still has an important part to play for Kiwi filmmakers—it’s difficult to get NZFC funding without a commitment to theatrical distribution. The up to $500k grant and willingness to experiment around the $1 million mark provides wriggle room. But once you are over a million, it’s theatrical upfront or nothing for now. And that’s all there is as far as Christopher Nolan is concerned.
Nolan is renowned for refusing to work with streamers, saying that movies belong on the big screen. Thankfully for him, he has the talent and the ability to ensure that his movies show there. But not everybody is as fortunate.
NZIFF and other festivals provide a welcome opportunity for New Zealand and other independent filmmakers to get their films seen on big screens in front of an audience.
Long may they continue.
Tui Ruwhiu
Executive Director
Last updated on 30 July 2026
