NEW YORK — When Jennifer Kent’s haunting psychological horror film “The Babadook” premiered in theaters a decade ago, it was limited to just two cinemas. Now, as it returns to theaters this month, it will be showcased in 500 cinemas nationwide.

Jennifer Kent, speaking from her home in Australia, reflected on this milestone: “It’s surreal, but in the most delightful way. It’s hard to fathom that 10 years have already passed. The fact that it initially released on such a limited number of screens and is still resonating with audiences today fills me with pride.”

“The Babadook,” an eerie exploration of the challenges of parenthood, marked a significant shift in the horror genre, introducing a new wave of bold, innovative films. This year, it joins a lineup of movies celebrating anniversaries with re-releases in theaters. A glance at any movie theater marquee today reveals not only the latest blockbusters but also an array of older classics.

Despite the convenience of streaming services, there’s a notable resurgence of interest in watching classic films on the big screen. Repertory cinema, once confined to arthouse theaters, has now found its place in multiplexes as well.

Remarkably, some re-releases are achieving impressive box office numbers. For instance, Laika Studios’ beloved 2009 stop-motion film “Coraline,” directed by Henry Selick, grossed over $25 million in just two weeks—an astonishing feat for a 15-year-old movie. Earlier this year, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” garnered $19.4 million globally.

This fall promises anniversary screenings of films like “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar,” among others. While restored classics frequently return to theaters (“Seven Samurai” and “The Conversation” had summer screenings), it’s now common for relatively recent films to have wide re-releases, drawing large audiences.

“The Babadook,” initially a small independent film that gained cult status through rave reviews—even being hailed by William Friedkin as an instant classic—stands to surpass its original North American box office gross of $1 million.

Nicole Weis, vice president of distribution for IFC, highlighted the film’s enduring appeal: “It has attracted a whole new fan base. Many fans never had the chance to see it theatrically. Our strategy is to give them that opportunity to experience the film as it was meant to be seen—on the big screen.”

While theatrical attendance hasn’t fully returned to pre-pandemic levels, this is partly due to a decrease in the number of films released in theaters. The movie calendar has been significantly impacted by last year’s prolonged work stoppages.

To address this gap, the nation’s three largest theater chains—AMC, Regal, and Cinemark—formed Fathom Events in 2005. This initiative distributes live broadcasts of events like the Metropolitan Opera and special events such as the annual Studio Ghibli Fest, which showcases classics from the renowned Japanese anime studio. Their recent release of “Coraline,” including 3D screenings, set a new record for Fathom.

Ray Nutt, CEO of Fathom Events, noted the growing interest in classic movies: “This year, we expect a 75% increase in this category year over year.”

Initially, Fathom focused on showing films on typically quiet days like Mondays and Tuesdays. However, their offerings have expanded significantly. Earlier this year, one of their biggest successes was a weekend run of the “Lord of the Rings” trilogy. Upcoming classics include anniversary showings of “Rear Window,” “Blazing Saddles,” “Mean Girls,” and “The Fifth Element.”

Nutt humorously observed, “The definition of a classic movie has evolved. It used to mean something 50 years old or more; now we’re talking about ‘Coraline’ at just 15 years.”

While some streaming services tend to obscure older films from their home pages, in today’s vast digital landscape, the age of a movie can sometimes be less important than the viewing experience itself. (“Titanic” and “The Equalizer” have both trended on Netflix’s most-watched lists this summer.) The distinction between theater and home viewing is increasingly about how immersive the experience is. Would you prefer to watch “Jaws” on your couch while distracted by your phone or on a big screen with an audience collectively holding their breath?

Mark Anastasio, program director of Coolidge Corner Theatre, a six-screen nonprofit cinema in Brookline, Massachusetts, noticed a strong interest in older films when the theater reopened post-pandemic. At the time, there were few new releases available.

“But interest in repertory never waned,” Anastasio explained. “We used to run older films once or twice a week at 7 p.m., but now we’re screening them every night, including weekends. And there’s demand for it.”

This shift has allowed Anastasio to get more creative with programming, delving deeper into filmmakers’ catalogs. Recently, they had a full house for Spike Lee’s “Inside Man” in 35mm and saw success with William Friedkin’s 1977 thriller “Sorcerer.” Upcoming plans include three weeks of 70mm screenings (“Lawrence of Arabia,” “Inception”) and a “Schlock and Awe” series featuring William Castle films with their original gimmicks.

While such programming isn’t new for urban arthouses, its reach is expanding. Increasingly, older films are being shown on screens typically reserved for new releases, partly out of necessity.

Jeremy Boviard, general manager of the four-screen Moviehouse in Millerton, New York, remarked on the industry’s current state: “There’s about 20-30% fewer films being widely distributed now compared to just five years ago. This leaves gaps in programming on certain weekends.”

As the interest in classic and older films continues to rise, it’s clear that audiences are eager for diverse cinematic experiences that transcend time and trends.

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