In this year’s first wave of the General Media Survey, 60% of Spaniards reported never having stepped into a cinema, while 38% said they had abstained at some point. Yet the true pulse of cinema behavior becomes clear when we zoom in on the weekend of May 6, a moment that exposed how distribution and display shape audience choices. That period produced both a record high and a record low for the year in terms of premiere film revenue, underscoring the uneven dynamics of theatrical releases.
On one side stood Doctor Strange in the Multiverse of Madness. The film rolled out across 411 cinemas, occupying 1,228 screens, and drew 5.65 million euros from 816,473 attendees over May 6, 7, and 8. It demonstrated robust demand from moviegoers seeking a high-profile, effects-driven event experience, reinforcing the industry’s capacity to generate sizable grosses through wide national releases. This outcome sits in contrast with a much smaller footprint seen the same weekend, namely the Spanish film Culpa. Released in two editions, Culpa was directed by Manuela Vellés, connected to Ibón Cormenzana’s circle, and attracted a markedly limited audience. Its performance, described as modest by the national cinema community, reflects how a limited release and audience reach can yield far smaller box office returns despite strong critical attention. The title received coverage in industry outlets that highlight the film’s formal rigor and its reception within the cinematic space, with a featured write-up appearing in Días de cine. The measured release strategy and later availability on streaming platforms contributed to the low theatrical turnout for this title. This juxtaposition shows that a later streaming release can influence decisions about big-screen viewing, especially for titles with niche appeal. These patterns were noted by cinema analysts and critics who tracked weekend figures and consumer response. — ICAA attribution
The weekend also raised questions about regional and national participation in cinema. Alicante, a city often associated with Goya-recognized performances and important screen moments, did not see a spike in attendance tied to any single film. The broader message is clear: some titles capture widespread interest quickly, while others attract a much smaller, more focused audience. This disparity invites policymakers and industry stakeholders to consider how to sustain cinema momentum across different regions and demographics. The conversation is not only about numbers but about how to maintain a vibrant culture of film viewing, ensuring there are varied experiences that appeal to diverse tastes. Critics and observers suggest that action from authorities could help keep cinephile enthusiasm alive, though the timing and impact of such measures remain debated. The take is that bookable events, festival tie-ins, and strategic release windows can influence attendance trajectories, sometimes more decisively than big-budget appeal alone. — ICAA attribution
In sum, the May weekend illustrated a bifurcated landscape: a blockbuster with mass appeal driving strong revenue and a smaller, more intimate title highlighting the importance of release strategy and audience targeting. For industry professionals and curious audiences alike, the key takeaway is that the success of a cinema product depends on how well distributors align the film’s reach with viewer expectations, local market conditions, and subsequent accessibility through home viewing platforms. As audiences continue to evolve in their viewing habits, stakeholders are urged to monitor shifts in preference, capacity utilization, and the timing of platform premieres to gauge where opportunities lie for future openings and sustained engagement. — ICAA attribution