Cinema attendance across Europe declined by 5.5% in 2025, reaching an estimated 796 million admissions, according to preliminary figures released by the European Audiovisual Observatory (EAO), part of the Council of Europe in Strasbourg, on the occasion of the ongoing Berlinale (12-22 February).

The drop follows a milder 1.7% fall in 2024 and marks the lowest admissions level since 2022, when cinemas recorded 724 million tickets sold. Despite this contraction, gross box-office revenues remained broadly stable, slipping by just 0.6% year on year to an estimated €6.36 billion. The Observatory attributes the relative stability to higher ticket prices, which rose from an average of €7.60 to €8.10.

Around two-thirds of European countries saw admissions decline in 2025, although the scale varied widely. Three markets accounted for 72% of the total drop between 2024 and 2025: France (-24 million admissions), Spain (-8 million) and Turkey (-5 million). Smaller gains in other territories, led by Germany (+1.8 million admissions), Poland (+1.3 million) and Austria (+0.9 million), were not enough to offset these losses. France nevertheless remained the continent’s largest cinema market, with 156 million admissions, followed by the UK (123 million) and Germany (91 million).

According to the EAO, the downturn was partly linked to a challenging year for US releases combined with the absence of major pan-European hits capable of driving audiences across borders. Even so, Hollywood titles are expected to dominate annual rankings once final figures are confirmed. Indeed, among the highest-grossing films of the year in Europe were major studio productions such as Zootopia 2, Avatar: Fire and Ashes, A Minecraft Movie, Lilo & Stitch and Mufasa, several of which opened late in the year.

France’s particularly sharp fall was attributed to both weaker US performance and a lack of standout domestic titles. Elsewhere, however, strong national productions helped stabilise local markets. Local hits topping national charts included Manitou’s Shoe in Germany, Černák in Slovakia, Buen Camino in Italy, Stelios in Greece and Yan Yana in Turkey – the latter reportedly drawing twice as many admissions as Zootopia 2 in its home territory.

Meanwhile, national market share increased in 17 European markets, most notably in Poland (+9%), Italy (+8%) and Germany (+6%). Turkey (55%), the UK (41%) and France (38%) reported the highest shares for domestic films, followed by Denmark (37%), Italy (33%) and Finland (30%).

The figures underscore a trend observed since the pandemic: audiences are returning unevenly, with local titles often outperforming imported blockbusters in individual markets.

For exhibitors and distributors, the latest data confirm a fragile recovery. While higher ticket prices have helped stabilise revenues, admissions remain below pre-pandemic levels, and the sector continues to rely on a mix of strong domestic output and occasional global hits.

The EAO is expected to publish updated and finalised figures ahead of the Marché du Film in Cannes, offering a clearer picture of how 2025 compares with longer-term trends.