The Czech theatrical market closed 2025 with declining admissions but resilient revenues, continuing a trend seen over the past two years. According to annual statistics published by the Czech Union of Film Distributors (UFD), total cinema attendance reached 12.61 million admissions, down 3.3% year-on-year from 2024. Despite this contraction, total box-office revenues inched up to 2.267 billion CZK (€93.1 million), a marginal increase of around 0.5%. The stabilising factor was once again ticket pricing: the average ticket price rose to 179.87 CZK (approximately €7.15), up from 179.87 CZK (€6.90) the previous year. The number of screenings also increased slightly, indicating a denser and more competitive release environment.

At the top of the annual chart, US studio titles dominated, led by Jared Hess’s A Minecraft Movie, which became the most-attended release of the year, with 859,295 admissions and 157 million CZK (€6.4 million) in box-office revenues. Animated and franchise-driven titles occupied most of the upper tier, confirming the Czech audience’s continued appetite for high-profile, family-orientated international content.

While no Czech productions were in contention for the number-one position in 2025, domestic cinema maintained a strong and commercially meaningful presence across the top 30, driven primarily by comedies and established brands. The highest-ranking Czech film of the year was the irreverent sports comedy Vyšehrad Dvje by Martin Kopp and Jakub Stáfek (distributed by Bioscop and AQS), which placed fourth overall with 480,347 admissions, translating into 91 million CZK (€3.74 million) in revenues. The sequel to the 2022 hit and box-office champ Vyšehrad: Fylm (see the news) confirmed the sustained audience pull of locally rooted IP and remains one of the most significant domestic theatrical performances since the pandemic. Another major local success was another comedy, Marty Pohl’s Na plech (distributed by Bontonfilm), which capitalised on a strong January launch and finished the year with 291,012 admissions (58 million CZK, or €2.4 million). Pohl’s deliberately gross-out brand of comedy once again proved highly effective in the domestic market, outperforming several Hollywood releases during its opening weeks.

The upper-middle tier of the annual box office was notably rich in Czech titles. Džob (Continental Film) by Tomáš Vorel, closing the trilogy consisting of The Can and Prague Cans, reached 252,891 admissions (50.5 million CZK, or €2.07 million), while Sea of Hope (Bontonfilm) by Martin Horský, of the domestic hit Women on the Run [+lee también:
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Beyond the top-ranking domestic releases, Czech films maintained a strong presence across the lower top 20 and top 30, underscoring the breadth and resilience of the local theatrical slate. Titles such as Petr Kolečko and Vladimír Skórka’s The Magic of the Derby (Bontonfilm), which generated 165,069 admissions and approximately 28.8 million CZK (€1.19 million) in revenues, and Petr Zahrádka’s How Did This Happen to Us!? (Bohemia MP), with 156,233 admissions (23.1 million CZK, or €950,000), were followed closely by Pavel Jandourek’s Sugar Candy (Bioscop/AQS), reaching 140,944 viewers (19.1 million CZK, or €788,000). Further down the chart, Ondřej Provazník’s Broken Voices [+lee también:
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A notable footnote to the year was Jiří Mádl’s Waves [+lee también:
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