Andrection, CEO of the Association of Film Distributors, welcomed the year-over-year increase in UK and Ireland admissions and box office revenue achieved in 2024.
Annual enrollment in the UK and Ireland increased by 2.3% to 138 million, but box office revenue rose 0.2% in 2024 to £1065 million (£1063 million in 2023). It has achieved box office growth for the fourth consecutive year.
“We went third in the global rankings and continued on an upward trajectory. Most countries have witnessed recession, and 2025 has also begun very well, which is also better than many other territories.
“Hopefully, 2025 will be able to lay the foundation for a record-breaking return to business level over the next three or four years.”
FDA Head had commented before today (April 9) publication of the 23rd FDA Yearbook. This itself arrives just before a major new report from the Culture, Media and Sports Commission, where tax credits are expected to be recommended to support the distribution of low-budget films.
“We are proposing a 25% tax credit on distribution P&A costs for UK productions for less than £15 million,” Leyshon said. “Distribution tax relief is essential to realizing the benefits of IFTC (Independent Film Tax Credit), encouraging distributors to spend more money, release more movies, and perform in more theaters.
Leyshon also sought that British distributors be bold in dating movies.
“We need to ensure a more consistent 52-week theatrical release calendar. While 2024 was a challenge as we felt the aftershocks of the US strike, future distributors and exhibitors should know that our audience want a diverse slate all year round.
“While rosters of healthier releases have naturally improved slate perceptions over 2024, there’s still some way and work to do to fully engage viewers and increase the frequency of cinemagos that are lagging behind pre-movie levels.”
Yearbook data
Data included in the latest yearbook reveals that the average UK movie ticket price was lower last year than in 2023, at 7.71 pounds rather than 7.86 pounds.
“Cinemas remain the most affordable out-of-home leisure activity and we must be happy by stepping into and backing the general global trends of 2024,” Rayshon said.
However, the UK remains clearly a very saturated market. In 2024, a record 1,114 titles were released by 180 distributors.
The sector is also biased, with the top 10 distributors (Disney, Universal, Warner Bros., Paramount, Sony, Studio Canal, Entertainment, Black Bear, Lions Gate, and Trafalgar) having an 89.5% market share.
Top 3 Movies of the Year – Universal evil And Disney Inside Out 2 and Deadpool & Wolverine – Although it generated 17% of total box office revenue in 2024, the top 10 films were responsible for 41% of total box office revenue.
Paddington, PeruReleased by Studiocanal, the UK’s Top and Irish Film of the Year was grossed at £36.6 million. That number has already gotten better this year. Bridget Jones: I’m angry about the boyhas so far won £45.8 million.
November was the most profitable month of 2024, with box office revenue of £145.4 million, reaching four of the 10 opening weekends this year. The least profitable month was September, with £59.9 million.
The new yearbook identifies familiar trends. For example, 81 of the top 300 cinemas in the UK and Ireland are in London, with 24 of them operating in the West End.
Box office revenue was 3% in Scotland, 1% in Wales and Northern Ireland and flat in the UK, but a slight 1% in the Republic of Ireland.
That’s how the top re-release was Coralinedistributed by Trafalgar to celebrate its 15th anniversary and cost £3.6 million. The most popular feature of foreign languages was A24. Zones of Interest For £3.5 million, the top documentary was from MetFilm Wild It was grossed at £632,583. The Indian production generated £27.5 million at the UK and Ireland box office in 2024.
Admission is still behind the 193 million people achieved in 2018, but UK cinematography remains on an upward curve.
“I incorporate a positive view of the knowledge that films retain a unique place within the cultural landscape, and cannot replicate the co-viewing experience at home. But to ensure that audience faith is still interesting and that film offerings need to be on tap forever and ensure that cinemas can flourish.”
“This isn’t easy, but if all parts of the film industry work together, cinemas can remain relevant for years to come.”
(TagStoTRASSLATE) Distribution (T) UK/Ireland
