Reviving the big screen: a new vision for UK cinema

For generations, a trip to the cinema was more than just watching a film. It was a Saturday night, queuing up with friends, the smell of popcorn in the air, as the magic of the lights dimmed before a story filled the screen. 

Today, the UK cinema industry stands at a pivotal moment. Once a dominant cultural force, the communal act of going to the movies has faced disruption and transformation, particularly in the years following the pandemic.

The recent cancellation of National Cinema Day has provoked a wave of disappointment from the public. Yet even in an era of streaming, strong box office performances from select titles prove that the appetite for cinema remains. So how can we breathe new life into this once-great institution?  

A pause for reflection: what the cinema day break really means

National Cinema Day has, in just a few short years, become a fixture in the UK’s cultural calendar. Offering audiences the chance to see any film for a heavily reduced price, it has succeeded in drawing people back in significant numbers. The initiative has not only boosted box office takings on the day itself, but also reminded many lapsed cinemagoers of the unique pleasure of the big-screen experience.

Its cancellation in 2025 leaves a noticeable gap. Without it, the industry loses a proven driver of mass participation, and a moment when the cinema feels like a nationwide celebration rather than an isolated activity. For younger and more casual audiences in particular, the day provided a low-risk, high-reward entry point into cinema-going. 

 

Box office trends and the shifting landscape

So what’s the wider context? UK cinema admissions have seen considerable shifts over the last 25 years. In 2002, admissions stood at 175.9 million visits and remained relatively stable until peaking in 2018 at 177 million. However, by 2023, they had fallen to around 123.6 million — a noticeable drop compared to pre-pandemic norms.

The most recent data from 2024 shows modest improvement: admissions rose to 126.5 million, up by about 2% compared to 2023, but still lag behind 2019’s £1.3 billion by around 22%. The upward trend in 2024 signals resilience and hints at recovery, though the gap with pre-pandemic highs remains significant.

 

This decline is not due to a lack of interest in films. On the contrary, box office data shows that UK audiences continue to support certain types of cinematic experiences enthusiastically. Films like Barbie, Oppenheimer, Spider-Man: No Way Home, and Bond entries such as No Time To Die have performed exceptionally well, each earning upwards of £90 million. In particular, blockbuster franchises, major IP-based content, family-friendly animation, and prestige dramas continue to draw large audiences.

 

Understanding audience segments

Young cinema-goers are increasingly considered to be the lifeblood of UK venues, playing a pivotal role in sparking the industry’s bounce-back. In 2024, under 35s accounted for 50% of all cinema admissions across the UK, according to the Cinema Advertising Association. The Guardian recently reported that this shift is particularly marked in independent cinemas like Curzon, where the 25–34 age group rose from 16% in 2019 to 31% in 2025, and 18–24s grew from 17% to 24% over the same period. 

Building on this, recent research by NRG suggests Gen Alpha (typically defined as having been born after 2013) is actually the key to the future of cinema. Despite being a generation raised on smartphones and devices, they crave real-world experiences — and their attention spans are higher than the media would have you believe.

6 out of 10 Gen Alphas said they actually preferred watching movies in theatres rather than at home. They want their trip to the movies to be an event, which was particularly evident during the ‘Gentleminions’ TikTok craze of 2022, where groups of predominantly teenage boys dressed in formal suits to attend screenings of Minions: The Rise of Gru, mimicking Gru’s attire. Millennials typically have more of an appreciation for the skill and craft involved with producing a film, so they prefer to watch in peace and quiet, while Gen Alpha values the communal experience of watching something together.

This trend reflects how younger audiences, spurred by lockdown rediscoveries of film culture, are gravitating toward curated cinematic experiences. Platforms like Letterboxd have opened up a world of movie history, while social media amplifies visually compelling films with cult appeal. The draw extends beyond content — many young people value the ‘no phones zone’ independent cinemas provide, where etiquette and immersive viewing add genuine atmosphere. 

Music films also attract buzz and attendance: Taylor Swift: The Eras Tour shattered previous concert film records, while the viral phenomenon of titles like Saltburn keeps fans coming back for the shared experience, driven by social conversation.

 

The evolution of premium

We’ve also seen an increase in those seeking ‘premium’ cinema experiences, particularly IMAX. The brand, which specialises in larger screens and more immersive sound, has quickly gained market share and is predicted to see exponential growth in the next few years.  

CEO Rich Gelfond told CNBC: “Post-pandemic, a lot of activities, especially event activities, have really done well [for] premium brands. You look at concerts — ticket prices went up. Premium seats have gone up. You look at sporting events. Broadway. I think people, although they enjoy staying at home, streaming and watching streaming products…when they go out of the home, they want something sufficiently distinguished from that.”

But could cinemas go further than reclining seats and Dolby Atmos?  Perhaps the ‘new premium’ is to create more Instagram-worthy communal spaces, instead of the outdated sticky carpets and dimly lit corridors of popular chains.  Themed cafes as an alternative to the traditional refreshment counter, or even co-working spaces. Maybe we need to make cinemas into the kind of places that consumers want to go, even when they’re not seeing a film. As Matt Belloni of The Town podcast recently said, “we’ve been spending a lot of money and time replicating the cinema experience at home…but what if the answer is to make it less like home?”

 

Netflix vs the multiplex?

Another revealing development is Netflix’s evolving relationship with cinemas. Once positioned as the primary disruptor to theatrical releases, Netflix has increasingly experimented with giving its own high-profile titles limited big-screen runs before or alongside streaming. Films like The Irishman, Glass Onion, and The Thursday Murder Club each played in selected UK cinemas, often selling out screenings despite the availability of these films online soon after. 

While personally appreciative of the communal theatrical experience, Netflix co-CEO Ted Sarandos recently suggested moviegoing was “an outmoded idea for most people”.  But the popularity of Netflix titles such as K-pop Demon Hunters’ singalong screenings demonstrates that audiences see value in experiencing content on the big screen even when home viewing is an option.

It suggests a hybrid future where streaming platforms and cinemas complement rather than compete, with theatrical runs serving as both cultural events and powerful marketing for films in the crowded digital marketplace.

 

Strategies to reinvigorate cinema

With a better understanding of what’s working, the question becomes: how can the UK cinema industry bring audiences back in greater numbers?

Here are several promising approaches:

• Cinematic subscriptions and loyalty schemes. Monthly plans allowing unlimited or discounted access to screenings that encourage habitual attendance and foster customer loyalty. 
• Enhanced event screenings. Elevating cinema from a passive viewing experience to an event can deepen audience appeal. Costume nights, live Q&A sessions with filmmakers, sing-alongs, pop-up merch or screenings with orchestral accompaniment can all add unique value to the visit. 
• Shorter theatrical windows with exclusive content. As streaming becomes more dominant, cinemas can respond by offering exclusives. Limited-time bonus scenes, director’s cuts, or early releases of key films can make the cinema experience distinct from home viewing.
• Pop-up re-releases with nostalgic pull. Creating limited-run reissues of cult classics with digital enhancements or special shorts. Frame them as must-see, temporary experiences to take advantage of before they disappear.

A cinematic future rooted in innovation

While challenges remain, the evidence suggests there’s a strong appetite for cinema in the UK. Audiences continue to turn out for well-promoted, exciting, or meaningful films, and cinemas that innovate and adapt are seeing results. The future lies in reimagining the cinema experience not simply as a screen in a dark room, but as a vibrant, inclusive, and multifaceted cultural destination.

By combining data-driven insights with creative thinking, and by putting audiences at the heart of programming and policy, the UK can write a bold new chapter for its cinema industry. The screen is still alive with possibility. It’s now up to exhibitors, producers, distributors, and communities to realise that potential together.