2016 sets a new record for Polish cinema admissions
by Dorota Hartwich
- Poland's burgeoning attendance levels are still on the rise, with 51.6 million viewers last year and five national films in the top ten
Every year seems to resemble the last in Poland, with cinema attendance levels constantly on the rise, buoyed by the highly impressive results achieved in theatres by national productions. After the 40.4 million admissions recorded in 2014 and the 44.7 million tickets sold in 2015, the annual total leapt to 51.6 million viewers in 2016. And national movies are in great shape, having taken 12.8 million admissions in 2016 (as against 11 million in 2014 and 8.3 million in 2015), which equates to a market share of 25%. Interestingly, there has been almost no change in the average ticket price (rising slightly from 18.40 Polish zlotys to 18.60).
Several records were smashed last year. Eleven titles exceeded one million viewers (as against seven in 2015), while five Polish features made an appearance in the top ten. Featuring among them are two movies by Patryk Vega: Pitbull. New Orders [+see also:
film profile] (1.43 million viewers, in fifth place) and Pitbull. Dangerous Woman [+see also:
film profile] (ranking first in the annual chart, with 2.8 million admissions and a record opening – 767,000 tickets sold during its first weekend on release). Also featuring prominently on the list are the rom-com Planet Single [+see also:
film profile] by Mitja Okorn (1.9 million admissions), Hatred [+see also:
film profile] by Wojciech Smarzowski (1.43 million viewers and rocking up in fourth place in 2016, just behind the US animated blockbuster Ice Age: Collision Course) and the comedy 7 Things You Don't Want to Know About Men [+see also:
film profile] by Kinga Lewinska (in tenth place, with 1.1 million viewers).
We should also highlight the 215,000 admissions notched up by the family film Behind the Blue Door [+see also:
film profile] by Mariusz Palej, which went on general release in November: while a minor success, it nevertheless demonstrates the existence of a pool of viewers for movies aimed at young audiences and opens up some promising opportunities for a genre that is particularly hard to find in Polish film production at the moment.
(Translated from French)
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