NEW YORK — When Jennifer Kent’s “The Babadook” first graced theaters a decade ago, it was a modest affair, debuting in just two cinemas. This month, however, marks a significant milestone for the film as it returns to theaters, this time showcasing in an impressive 500 locations.

“It’s surreal but wonderfully so. I can hardly fathom that ten years have passed already. It’s amazing to reconnect with the film,” says Kent from her home in Australia. “Given its initial limited release, I’m incredibly proud of its enduring legacy.”

“The Babadook,” a haunting exploration of the trials of parenthood, heralded a new wave of innovative horror films. It’s among several movies celebrating anniversaries with re-releases this year. Glance at any theater marquee today, and you’ll find a blend of new films and cherished classics.

In an age where nearly every film is accessible at home with just a few clicks, it’s the older movies that are drawing audiences back to the big screen in droves. Repertory cinema, once confined to arthouses, now shares space in multiplexes too.

The resurgence in interest for classic films is evident not just in nostalgia but also in box office numbers. Over just two weeks, the 2009 stop-motion gem “Coraline” by Laika Studios has grossed over $25 million—a remarkable feat for a 15-year-old film. Earlier this year, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” garnered $19.4 million worldwide.

This fall will see anniversary showings of beloved films like “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar.” While it’s common for restored classics to make theatrical comebacks—like “Seven Samurai” and “The Conversation” did this summer—there’s a growing trend of recent films getting wide re-releases and attracting large audiences.

“The Babadook,” which gained cult status through critical acclaim—William Friedkin even called it an instant classic—may very well surpass the $1 million it earned a decade ago in North America.

“It has cultivated a new fan base,” says Nicole Weis, vice president of distribution for IFC. “Many fans haven’t seen it in theaters before. Re-releasing it allows them to experience it as it was meant to be seen, on the big screen.”

The theatrical experience hasn’t fully bounced back to pre-pandemic levels, partly because theaters lack enough new movies to screen. The number of nationwide releases has dropped due to various factors, including last year’s extended work stoppages.

To help fill these gaps, AMC, Regal, and Cinemark—the nation’s three largest theater chains—formed Fathom Events in 2005. Fathom distributes live broadcasts from the Metropolitan Opera and special events like Studio Ghibli Fest, which revives classics from the renowned Japanese anime studio. Their release of “Coraline,” including 3D screenings, set new records for Fathom.

“The interest in classic movies has surged,” says Ray Nutt, CEO of Fathom. “We’re expecting a 75% increase in this category year over year.”

Initially, Fathom focused on quieter cinema days like Mondays and Tuesdays. However, they’ve expanded significantly. Earlier this year, they had a hit with a weekend run of the “Lord of the Rings” trilogy. Upcoming classics include anniversary screenings of “Rear Window,” “Blazing Saddles,” “Mean Girls,” and “The Fifth Element.”

“We often joke about what defines a classic movie,” says Nutt. “It used to mean something from 50 years ago, but now we’re talking about ‘Coraline’ at just 15 years old.”

Streaming services often bury older films on their homepages, making their availability less apparent. However, within the digital sea of content, the age of a movie can become irrelevant. Films like “Titanic” and “The Equalizer” have both featured on Netflix’s most-watched lists this summer. The difference between theater and home viewing is increasingly about the experience itself. Would you rather watch “Jaws” on your couch while scrolling through your phone or on a massive screen with an audience collectively on edge?

Mark Anastasio, program director at Coolidge Corner Theatre in Brookline, Massachusetts, noticed a strong interest in older films as his six-screen nonprofit cinema reopened post-pandemic. With fewer first-run films available at that time, repertory screenings became more frequent.

“But the interest in repertory never waned,” says Anastasio. “We’ve increased our offerings to show an older movie every night of the week, including weekends. And the demand is there.”

This shift allows Anastasio to curate more creatively, delving deeper into filmmakers’ catalogs with consistent audience turnout. Recently, he had packed houses for Spike Lee’s “Inside Man” in 35mm and William Friedkin’s 1977 thriller “Sorcerer.” Upcoming plans include three weeks of 70mm screenings featuring “Lawrence of Arabia” and “Inception,” and a “Schlock and Awe” series showcasing William Castle films with original gimmicks like vibrating seats during “The Tingler.”

Such programming is expanding beyond urban arthouses to mainstream theaters. Older films are increasingly shown on screens typically reserved for new releases, driven partly by necessity.

“There are about 20-30% fewer films being widely distributed now compared to five years ago,” says Jeremy Boviard, general manager of the four-screen Moviehouse in Millerton, New York. “There are definitely more programming gaps on certain weekends.”

In conclusion, as audiences continue to seek out classic films in theaters amidst a landscape altered by streaming and fewer new releases, the enduring appeal of these older movies remains strong. The communal experience of watching beloved classics on the big screen offers something unique that at-home viewing simply can’t replicate.