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Theatrical Windows Are Stretching Again — and Hollywood’s C-Suite Wants Them Longer Still

Average first TVOD windows rose in 2025, Disney again led the majors with a 61.6-day average, and early 2026 releases point toward a stronger 45-day baseline. After several years in which theatrical windows seemed to be shrinking by the quarter, the North American market may finally be settling into…

Homegrown hits at the Nigerian box office include Brotherhood, A Tribe Called Judah and The Wedding Party.

The Rise of Local Cinema: How Nigerian Cinemas are Rebuilt on Indigenous Films

For over a decade, conversations about cinema revolved around Hollywood imports: tentpoles, superheroes, franchise spectacles, and the billion-naira weekends they reliably drove. The last five years have indeed redrawn the theatrical map. Local content, once considered supplementar…

“Kill Bill” characters The Bride, O-Ren Ishii and Bill sit vertically against a red and black background, with the film title in yellow on the left side

“Kill Bill: The Whole Bloody Affair”: The Long Journey to the Big Screen

What fans of Quentin Tarantino’s “Kill Bill: Vol I” (2003) and “Vol. II” (2004) know but many others may not, is that the two films weren’t supposed to be separate entities; the original vision for the blood-spattered revenge saga was intended to be a single release. And now, after a 20+ year wait a…

Its Elemental Pixar Is Not Floundering

It’s Elemental: Pixar Is Not Floundering

In fact, Pixar remains one of the most successful studios in Hollywood. It’s official: Pixar’s “Elio” is a flop. The politely reviewed film cost more than US $200 million and grossed a dismal $152 million as of 27 August 2025. Pundits drew two lessons from this. (Yes, “drew;” I did that.) First, ori…

Animated Movies Are Still Box Office Gold

Looney Tunes: Animated Movies Are Still Box Office Gold

Why original animated films are no riskier—and just as rewarding—as live action flicks With the unfortunate collapse of Pixar’s “Elio” at the box office, the industry was quick to declare the death of the original animated feature. “Audiences aren’t interested,” goes the refrain. They’re expensive,…

Trump Foreign Movie Tariffs

President Trump’s 100% Tariff on Foreign Films Will Harm The Very Industry It Was Meant To Help

As a motion picture trade publication, most of the stories published by Celluloid Junkie that delve into politics focus on programs to assist the industry at large. We have, for the most part, been able to avoid covering any kind of politically polarizing subjects. However, there are times when wadi…

April 2025 Historic Weekend Box Office Milestones thanks to Sinners, Star Wars Episode III: Revenge of the Sith, A Minecraft Movie and The Accountant 2

CJ Analysis: Movie Theatres Outdated? A Historic Box Office Weekend Says Otherwise

Seriously, how many times does moviegoing have to stare down those endless cries that it’s doomed? Doomed! Doomed because of radio or television or the VCR or DVD or video games or TikTok or streaming! Or doomed because the industry pundits and mainstream media decides the pandemic magically changed…

Bridget Jones: Mad About The Boy - Theatrical Release Strategy

Bridget Jones: Mad About the Theatrical Release Strategy

The fourth and latest installment in the Bridget Jones Universe (BJU) has surpassed a global box office gross of USD $110 million in just over three weeks across 78 countries, save for the United States, where the film is skipping movie theatres in lieu of a direct-to-streaming release. With a repor…

European Producers and Public Funders Discuss How to Attract Audiences Back to Arthouse Cinemas

On 19 May, Cannes’ Marché du Film hosted a panel discussion titled “Producers, Films and Audiences: How to Connect the Dots” and moderated by Tamara Tatishvili, of MEDICI. In detail, the conversation focused on the important role of producers in both understanding audience development and creating j…

Cannes Panel Talks European BO Crisis; the Missing Links Between Industry and Audience

On May 20, Cannes’ Marché du film hosted its traditional morning conference, organized by the European Audiovisual Observatory (EAO). The second part of the event saw a panel discussion moderated by the EAO’s Head of Department for Market Information Gilles Fontaine. The conversation focused on the…