[Edaily Reporter Choi Hee-jae ] The movie theater industry is showing signs of a revenue recovery. Cumulative revenue through the third quarter of this year has surpassed 1 trillion won—a milestone reached about three months earlier than last year. However, a closer look at the details of this growth makes it difficult to be entirely optimistic.

This is because, while foreign films have dominated the market, box office success has been concentrated on a handful of Hollywood blockbusters, and a clear pattern is emerging where demand for special screening rooms is driving revenue. Analysts suggest that the recovery of the theater industry is relying on a select few films that offer differentiated content and viewing experiences, rather than resulting from the consistent success of a broad range of films.

According to the Korean Film Council’s recently released report on the Korean film industry for the third quarter of 2026, cumulative domestic box office revenue from January through September this year reached 1.0007 trillion won, a 35.9% increase compared to the same period last year. During the same period, the number of moviegoers rose by 28.8% to 96.89 million.

These figures represent the highest levels for both revenue and attendance for the same period since the pandemic began. Last year, total annual theater revenue stood at 1.047 trillion won, remaining in the 1 trillion won range, but this year, revenue reached 95% of last year’s total in just the third quarter.

However, looking solely at the third quarter, there is a clear contrast between Korean and foreign films. From July to September, revenue from Korean films totaled 122.7 billion won, and attendance reached 11.93 million, representing year-over-year declines of 9.8% and 15.2%, respectively. In contrast, revenue from foreign films rose 56.4% to 300.6 billion won. Foreign films accounted for 71% of total third-quarter theater revenue.

However, this was not because there were fewer Korean films released. In the third quarter, a variety of films across different genres were released, starting with *Hope* in July, followed by *Love Hachuping: The Legend of the Whale Jewel*, *Okay Madam 2*, and *A Trip to Gyeongju* in August, and *The Intern*, *The Assassin(s)*, *Tazza: The Song of Beelzebub*, and *Possible Love* in September.

According to the Korean Film Council, Korean films accounted for five of the top 10 highest-grossing films of the third quarter. The slump in Korean cinema is attributed not so much to a lack of new releases as to the limited number of blockbusters capable of driving up overall market revenue. In particular, the release dates of highly anticipated films were concentrated in specific periods, leading to fluctuations in monthly performance.

In contrast, the success of foreign films was concentrated on a few titles. “The Odyssey” and “Spider-Man: Brand New Day,” which ranked first and second in third-quarter foreign film box office earnings, generated combined revenue of 227.7 billion won, accounting for 75.7% of total foreign film revenue.

The combination of blockbuster content and special screening formats is also cited as a key factor driving the recovery in theater revenue. “The Odyssey,” which sparked a frenzy for IMAX tickets, generated 39.1 billion won from special screenings out of its total third-quarter revenue of 134.3 billion won. This represents 29.1% of total revenue. IMAX revenue alone totaled 29 billion won, accounting for 21.6% of the film’s total revenue.

This shift is also evident in the financial results of theater operators. CJ CGV’s third-quarter consolidated operating profit reached 73.6 billion won, a 215.2% increase compared to the same period last year. Its domestic operations also returned to profitability, recording an operating profit of 28 billion won.

The proportion of CGV’s total domestic audience attending special-format screens—such as ScreenX and IMAX—rose from 6.7% in the third quarter of 2019 to 18.1% in the third quarter of this year. CJ 4Dplex, which oversees the special-format screen business, also showed growth, posting revenue of 42.5 billion won and an operating profit of 9.0 billion won.

This demonstrates that the competitiveness of the theater industry does not depend solely on the number of screens or audience size. It means that it is becoming increasingly important to secure blockbuster films that attract audiences to theaters while also providing a viewing experience that is difficult to replicate at home.

A film industry official stated, “Special screening halls are an attractive revenue source for theater operators because they allow for higher ticket prices than regular screenings and can encourage additional spending from audiences depending on the film.”

The box office competition, centered on major releases, is expected to continue through the end of the year. On the 16th of next month, “Dune: Part 3” and “Avengers: Doomsday” are set to premiere. With Hollywood blockbusters—which are well-suited for large screens and immersive sound—set to reach audiences one after another, it remains to be seen how much demand they will generate for special screening theaters.

Another industry official pointed out, “For the theater industry to establish a stable foundation for growth, it must not only enhance the competitiveness of special screening rooms but also create a box office environment where a diverse range of films—including Korean productions—can reach audiences.”